Gaekwad’s Oriental Series
Published * under the Authority of
the Jlaharaja Sayajirao University
of Baroda.
General Editor:
B, J. Sandesara,
M A.,Ph.n.
No, 137
W\‘ I
V IS NUDHARMOTTARA - PURANA
• • •
THIRD KHANDA
• •
Vol. II
{Introduction, Appendixes, Indexes etc.)
{A study on a Sanskrit text of Ancient Indian Arts)
^ By
Df, Priyabala Shah
M.A., Ph.D. (Bom.),D.Litt. (Paris)
Prof. & Head of the Department of Ancient Indian Culture,
H. K. Arts College, Ahmedabad
oriental institute
BARODA
1961
Pnnted hy J P&te:! ^laiiageT Thft M^ha.faja no
TJjiiveTS ty of Barada Press (Sadhan^ Press) Near Palace Gate
Palace Road Baroda and published on behalf of the Maharaja
Sayaj rao Un vers ty of Baroda by Dr Bhog lal J Sandesara
D rector Onenlal Institute Baroda Sept 1561
fcJd?: li ef
UNIVERSITY PUBLICATIONS SALES UNIT,
Near Palace Gate, Palace Road, Baroda x
DEDICATED
TO
THE SACRED MEMORY
OF
MY MOTHER, KALAVATI
FOREWORD
This IS the Second Volume of the Vjjnudharmottara Purana, Khanda III,
being published as G 0 S , no 137 The First Volume containing the text was
out in 1958 as G O S , no 130
The present volume discusses critically the subject matter of this important
portion of the Visnudharmottara Pur ma dealing mainly with the topics of fine
arts including literary art, architecture, sculpture, painting and dancing Dr
Pnyabala Shah has given a thorough study of the various chapters of the original
text, and has also appended several indexes of technical terms which will be very
useful for purposes of reference We hope that these two volumes—text of
Visnudharmottara, Khanda III, and its critical study—will be welcomed by all
students of Ancient Indian Art and Culture
We are thankful to the University Grants Commission and the Government
of Gujarat for financial assistance m publishing the Volumes in the Gaekwad’s
Onental Series
Oriental Institute,
Baroda
July I, 1951.
B J Sandesara
J)irector
CONTENTS
Page
Preface .. .. .. .. .. . ♦ . ■ XV
Abbreviations .. •. .. .. .. .. XVII
Bibliography .. .. .. .. .» ..XVIII
I ( 1) Origin of Image-making .. .. .. .. 1
( 2) Interdependence of Arts .. ., ., .. 2
II Varieties of Literature .. .. .. .. .. 6
Tantragunado§a .. .. .. .. •. .. 9
Tantrasuddhi .. .. .. .. *. II
Literary Arts: .. .. .. .. .. ..13
Chandas .. .. .. .. -. .. 13
AlarnkaraS ,. .. .. .. .. ..14
Prahelika .. .. .. .. .. ..19
Mahakavyalak$ana . .. .. .. .. ..24
Dvada^arupa .. .. .. .. .. ..25
Sandhis .. .. .. .. .. .. .. 29
Nayikas .. .. .. .. .. .. .. 29
Rasa . .. .. .. .. .. .. 29
The endings of the Proper names .. .. .. .. 30
Forms of address .. .. .. ,.31
III Music .. .. .. .. .. .. .. 32
Vocal Music .. .. .. .. .. .. 32
Instrumental Music .. ., ,. .. .. ., 32
IV Nrttasutra . .. .. .. ., .. .. 35
Lying-down postures . . .. .. .. .. 46
Sitting postures and seats for different characters .. .. 47
Seats (Asanas) .. .. .. .. .. .. 48
Standing postures .. .. .. ,. .. .. 49
Gaits .. .. r. ,, .. .. .. 51
Gaits expressing sentiments (Rasagatis) .. .. .. 52
Movements of Limbs . .. ,. .. . • .. 55
Movements of Head .. .. .. .. .. .. 55
'Movements of Neck .. .. .. .. .. ..57
* *
Movements of Mouth .. .. .. .. .. 57
Movements of Chest .. ..58
Movements of Sides .. .. .. .. .. .. 58
X
VISNUDHARAIOTTARA
Pa^e
Movements of Stomach 59
Movements of Waist 59
Movements of Thigh 59
Movettniats of Sh?l-tik 60
Movements of Foot 60
Glances ( Drjtis ) 61
Rasadrs|i& ( Glances to express sentiments ) 62
Movements of Eydids 64
Movements of Eyeballs 65
Movements of Sight 66
Movements of Ey^ brows 66
Movements of Cheek 67
Movements of Nose 67
Movements of Teeth 68
Movements of Lo^\er lap 68
Hastabhinaya 69
Asamyuta Hastas 69
Samyuta Hastas
Nfttahastas
Mudras ^6
Rahasya Mudra
Significance
Samanya Mudra
Samanyabhinaya
Rasas and Sthayibh3vas
Sancaribh3vas
Sattvika BhSvas
Aharyabhmaya
Rasas
no
Number of Rasas
The Colours of Rasas
Deities of Rasas
Rasas with Ihcir Sthayms
Sancan
S5ttMka
Rasas and their Bha^as *01
Classifications of Rasas *02
V CitrasQtra *03
Origin of Painting 164
Nrtta and Citra 105
CONTENTS XI
Page
Measurements 105
Characteristics of Great men 108
Postures 110
The Technique of Painting 115
Plaster 115
Manibhumis 116
Instructions regarding time and ritual of Painting 116
Chavis or colours of skin based upon Primary colours 117
Pnmary Colours 117
Mixing of Colours 118
Making of Pigments 118
The Classification of Painting 119
Modes of applying Paint ( Vartana ) 125
Critical analysis of Citra 128
Objects usually depicted m Painting 130
Citra—Rasas 134
The place of Painting in Arts 136
Marks of good and bad Paintings 137
VI Pratimalaksana 138
Images and their Worship 138
Tnmurti 138
Brahman 139
Vi$nu 141
Mahadeva 143
Agni 145
Varuna 146
Kubera 147
Yama 147
Grahas 148
Aditya 149
Soma 150
Kumara 151
Bhadrakali 151
Ananta , 152
Tumburu 152
Mahi ( The Earth goddess) 153
AkaSa ( Gagana ) 153
Vyoman 153
Sarasvati 154
Laksmi 154
x!i
Manu
9 *
VISN UDI r ARKrOTTAR A
4 • • *
A $
4 4
• 4
Page
155
VirCpSkja
• •
V «
• A
A •
« 4
4 4
155
V3yu
, ,
• 9
A A
i t
• •
« V
156
Dliarma
• *
9 *
• 4
4 4
156
Vairagya
. .
m •
f ••
• *
«
156
Narasirhlia ,,
• -f
• 9
A #
• A
« M
A
157
VarOha
* *
^ •
# 9
A A
m »
• 4
!58
Hayagrlia ..
* »
9 %
A A
A A
4 4
4 4
158
•
^akra
*■ •
# •
A *
f f
4 f
* «
159
Padmanabha
«■
# #
• ¥
• •
* *
a a
159
The two Nasalyas
A %
m 9
9 A
•
a 4
160
Vi^nudhvaja
• •
9 m
9 9
A •
4 4
4 •
160
Vasu
^ #
r -r
A 9
4 4
4 r
J6J
Narartarjyana
9 •
9 m
9 A
• a
4 4
161
Linga
4 -•
• •
9 A
A A
m •
4 1
161
Padma
4 4
• »
9 M
9 m
4 4
■ «
161
Viivarupa
•
■ •
A •
•• ■
4 4
« 4
162
Samkar^ana
• 4
■ •
9 *
• •
4 4
4 4
162
Pradyumna ..
• 4
9 A
f •
• 4
• 4
162
Aniruddha
f
• •
f •
A A
* 0
a a
162
Ttlrksya - •
4 4
A A
• •
• A
0 W
• a
165
Miscellaneous gods and goddesses
4 %
m 4
4 4
a 4
165
AitjUka
• •
A •
A 9
$ 9
• •
■ 4
16S
VII Our text and the remains of Ancient IndJati Painting and Sculpture ]76
Painting—Mural Painting .. .. .. 176
The technical Process .. . i. •. •. .. 177
Somedetails.. .. 177
Sculpture -- 17S
VIII The Hetus or the Significances of Signs and Symbols * • *. 182
Colours of the Deities *. . • . * * • -» 182
Limbs of the Deities * • . • .« • < »« - • 183
Apparel of the Deities ** .* 184
The weapons usually mentioned in connection with the Images of the
Deities »• ■■ m 9 •* «• «« •• 1S4
Various other objects associated with the Deities «. .. . • 185
Various kinds of Musical instruments .« «. .. .. 186
Animats and Birds as Vihanai of (he Deities • • i« «» 165
tX Spltltuai SigtiiiiCanee of Avtthatla-Vtbodhanat Induction of Deities
into Images 11 i» i» «* •» ^ ^ ^ l SS
CONTE^TS XUl
X Rites and Rituals ^90
Devayatravidhi 190
Desire and Deity 192
XI Temple building 193
Mateiial and sites 193
Wood 193
Stone 194
Brick 195
Vajralepa 196
Sites 197
Varieties of Temples 198
General characteristics of a Temple 198
Sammyaprasadalaksana 198
The hundred temples 200
Sarvatobhadra 205
Classification 207
Comparison with architectural remains 208
Temples and Gods 209
Sarvatobhadra and Gods 212
Benefits of building a Sarvatobhadraprasada 213
XII Art and Religion 215
Kdvyarasa 215
Natya 215
Gita 216
Nrtta Nrtya 216
Concept of Rasa 217
Appendix I 220
Samarafigana Sutradhara 220
Abhilajitirthacint imam 220
Appendix II 222
Iconograph cal Matenal from o*her Puranas 222
Appendix III 223
Emblems of \arious deities represented on tl eir images as given
m Vijnudharmottara . 223
Appendix IV , 230
Characteristics of Hundred and one teraphs (as described in
Vijijudharmottara) .. ,, .. .. . 230
Appendix V . .. .233
Lists of temples according to Pufara,, Brhatsamhita and MSnasdra 238
( H. .
( SI. ...
’?n7lftlTlftT715^fgEF«T: (sT. \o--\x )
V\-^\ )
a^Rniftvnf^Tia»=?i3Tff. (31 .,.
snqi^^ri^ jiift Tg>?t3^n ;(3 t. «:5,-d4V,.
:T«i^acT5ii^RHt Riqrgjrq: ( „ )...
Stflfli^T^^tgrFRfjlTl ( 3?
(
VITigETRfoiTT
PREFACE
I began my work on a thesis on Visnudharmottara Parana in 1948 While
reading for the M A degree in Ancient Indian Culture of the Bombay University,
I got very much interested m the study of Fine Arts of Ancient India as well as
the literary material pertaining to them The search for such literary material
led me to the study of the Puranas which, as is well known, contain chapters on
various arts My intention, in the beginning, was to take as the subject of my
thesis ‘ materials for the study of fine arts in the Puranas ’ But when I made
a preliminary survey of the Puranas, I found that the material was too \ast to be
treated in a thesis So I selected Visnudharmottara for the purpose, because
comparatively speaking it contained the most exhaustive treatment of various
arts and crafts practised m Ancient India My thesis consisted of a critical edi¬
tion of Adhyayas 1 to 88 of the third khanda of the Visnudharmottara and an
introduction discussing the vaned matenal of the text in its archaeological,
historical and cultural setting I was awarded the degree of Ph D for this work
m 1951 by the University of Bombay
Smt Hansaben Mehta, who was the Vice-Chancellor of the M S Uniiersity
of Baroda at the time, showed keen interest m this work of mine and was good
enough to take the trouble of going through the thesis She told me that she
would be glad to have this work for publication in the G O Senes This was a
matter of joy to me and I undertook to revise the introduction and critically edit
the remaining thirty adhyayas to complete the third khanda of Visnudharmottara
The work is being published in two volumes The first containing the text
and critical notes is already out This second volume contains introduction as
well as the indexes and the appendixes
My mam concern in this work being the study of arts, I have thought it
proper to omit grammatical and lexical material from my discussion, so also the
matter pertaining to logic These would require a difTerent type of study and
approach
In dealing with the subject-matter of the text. 1 have found the order of the
original useful, so I have in the mam followed it I take up each topic as pre¬
sented in one or more adhyayas and give an analytical review of the same and
try to correlate it with relevant archaeological, histoncal and literary
information
I am much indebted to the previous workers in this field of research, parti¬
cularly to Dr Stella Kramnsch 1 have acknowledged my debt to them in the foot-
PKcrAcr
notes But for their pioneering \^ork, 1 would not ha\c been able !o do wliat
hufc 1 ha\c done
• • • •
U 1 $ a pleasant duty to express gratitude to teachers and friends who
discussed with me \anous topics and aspects of the subject and gave me the
bcncfil of their valuable criticism
I piy my respects to Prof K V Abhyankar who was one of my guides for
this thesis and express my most sincere thanks to him for helping me throughout
my work
I particufarly offer my homage to my teacher and guide, Prof Rasikial C
Pankh, Director of the B J Institute, Gujarat Vidya Sabha Ahmedabad He, in-
spiteof his immense pre occupations, always finds time to guide his students in their
research work The time spent in his company at the Institute as well as at his
residence has been very fruitful for my work and study I revised this entire
work under his guidance and his suggestions were very useful m improving it
Dr V S Agravval and Dr Motichanda spared their valuable time for me for
going carefully through the whole CjtmSutra of the text 1 am thankful to them
for this kindness
Dr V Raghavan has always been prompt in replying to my quemes
regarding various topics I am thankful to him for this kindness
I am grateful to Prof P K Code for giving me facilities to study the £jrada
Ms of the Vijnudharmottara lying in the Bhandarkar Oriental Research Institute,
Poona
1 am very much obliged to Mum Shu Kalyanavijayaji, who helped me m
editing the chapters on Prasada!ak§ana and who lock me round the Halhising
Jam temple of Ahmedabad to explain to me ^a^lOus architectural terms by point¬
ing out the vinous parts of the temple
I am also grateful to Muni Shn Punyavijayaji for guidance and various
kinds of suggestions 1 express my thinks to Prof Bhandan Prof k K Shastn^
Prof Nagardas Bambhania Dr J S Jetly and Shn Ravishankar Raval for various
kinds of help
I am thankful to the University of Bombay for giving me permission to
publish this work
For the publication of the first volume without much delay, I am indebted
to Prof G H Bhatt the Bieo director and to Dr U P Shah, deputy director
of the Onental Institute, Baroda
Shn A Ghosh the Director General of Archaeology in India kindly
permuted me m the first volume to print the photographs of tlie ^aradi script
manuscript lying in the Central Archaeological Library, New Delhi
yisnudharmottara
XVII
Finally, I take this opportunity of recording my thanks to my fnend,
Dr B J Sandesara, now the Director of Oncntallnstitutc of the M $ University
of Baroda and the Genera! Editor of the Gackwad’s Oriental Senes His unfail¬
ing courtesy and help arc responsible for the prompt publication of this work
I cannot end this preface before once more expressing my sense of gratitude
to Smt Hansaben Mehta whose keen interest in my work and kindness to me
have made possible the publication of these volumes in this well known senes
Ahmedabad, BRitAHALA SliAit
254-1961
ABBREVIATIONS
AD — Abhinaja Darpaija
EH! — Elements of Hindu Iconographv—Gopinath Rao
K D — Kii\)idarin ofDandm
KL — Kav>\limk^n of Blumnin
K S — Ktnnsutra
NS — N’ljv-a ^'ivin
VD —\ ivntidlnmottara
VS — Yaivnivun Sinum and Minor Rcltpious Svjtems—R G Hljirdafa-
kara
SUM — Shrcc Him Mukidvah
SR — ta Ritnakara
ninLiOGRAPjiy
English
ADMrNISTRATIONr—REPORT OF ARCHAEOLOGY, TRAVANCORE
(1107 M E)
ALDERUNl S INDIA—Sachau
ARCHAEOLOGY IN INDIA—Govt of India, 1950
SIR ASUTOSII MEMORIAL VOLUME PART VI
DARHUT INSCRIPTIONS—by Baruo and Smha
DUDDHTST HYBRID SANSKRIT DICTIONARY—by Edgcrton
CAMBRIDGE HISTORY OF INDIA, VOL I
DANCE OF INDIA—by Projcsh Banerjee
DrcrrONARY of Hindu architecture— by P K Acharya
ELEMENTS OF HINDU ICONOGRAPHY VOL I. Pt H—by T A Gopmalh
Rao
ENCYCLOPAEDIA OF RELIGION AND ETHICS VOL 11
ENCYCLOPAEDIA BRITANICA lUh edition Vo! 10
FINE ART IN INDIA AND CEYLON—by V A Smith
GUPTA ART—by V S Agrawafa
GUPTA EMPIRE—by Radhakamal Mookerji
HANDBOOK OF MATHURA MUSEUM—by V S Agravala
HINDU TEMPLES—by Stella Kramnsch
HISTORY OF INDIA {150 A D to 350 A D)—by Dr K P Jayaswal
HISTORY OF INDIAN AND INDONESIAN ART—by Dr A -K Coomara
,, swamy
HISTORY or INDIAN LITERATURE Vol I—by Wintermtz
HISTORY OF SANSKRIT POETICS—by P V Kane '
INDIAN ARTISTIC ANATOMY—by Abanindranath Tagore
INDIAN IMAGES Vol !—by Bhattacharyi
INDIAN PAINTING—by Percy Brown
INDIAN SCULPTURE AND PAINTING—by E B Havcil
JAIN CITRAKALPADRUMA—edited by Sarabhai Nawab
JAIN MINIATURE PAINTINGS FROM WESTERN INDIA—by Dr Moti
Chandra *
MIRROR OF GESTURES—by A K Coomarswamy
NA^YASAsTRA— translated by Manmohan Ghosh
PURANIC RECORDS ON HINDU RITES AND CUSTOMS—by Dr R C
Hazra
THE SACRED BOOKS OF THE EAST Vol XLIV—edited by F Ma'cmiller
THE SANSKRIT DRAMA—by A B Keith
visnudharmotta ra
xix
SANSKRIT POETICS—by S. K. De
SOME CONCEPTS OF THE ALAKIKARASASTRA—by Dr. V. Raghavan
STUDIES ON INDIAN PAINTING—by N C Mehta
STUDIES IN SANSKRIT TEXTS ON TEMPLE ARCHITECTURE—by N V.
Mallaya
A STUDY ON VASTUVIDYA—by Dr Tarapada Bhattacharya
TANPAVA LAKSANAM—by Dr. B V Nara>anasvvaini Naidu
TYPES OF SANSKRIT DRAMA—by D. R Mankad
VAISNAVISM, SAIVISM AND MINOR RELIGIOUS SYSTEMS—by Dr. R. G.
Bhandarkar
VEDIC INDEX
THE VISNUDHARMOTTARA ( Part III )—by Dr Stella Kramnsch
Sanskrit
AGNI PURAI^A—Vyankateswara Press
ANEKARTHASAMGRAHA
ABHINAYA DARPAI^AM OF NANDIKESVARA—translated by Man
Mohan Ghosh
ABHIDHANA CINTAMANI—Yashovijaya Jam Granthamala
ABHILA§ITARTHA CINTAMANT—Gaekwad’s Onental Senes
AMARAKOSA
KAMASOTRAM OF VATSYAYANA—Kasi Sanskrit Scries
KAVYA PRAKA^A OF MAMMATA—Anandairama Press
KAVYAPRAKASA SANKETA of SOMESVARA—edited by Prof. R. C.
Pankh
KAVYAMIMANSA of RAJASEKHARA—Gaekuad’s Onental Senes
KAVYADARSA of DANPIN—Gackuad’s Oriental Senes
KAVYANUSASANA of HEMACANDRA—edited by R C PankR
KAVYALAMKARA of BHAMAH—Kasi Sansknt Senes
kAvyAlamkAra or rudraja
KUMARAVIHARASATAKA OF RAMACANDRA
CATURVARGA CINTAMANI OF HEMADRI
CHHANDASSARA—KJii Sansknt Senes
DATTILAM—^Trnendrum Sansknt Scries
DA^ARUPA OF DHANANJAYA—Nirna>a Sagar Press
DIVYAVADANA—.A Collection of Earlj Buddhist Legends—E.B Coucll
and R. A. Ncil
nyAyakoSa
NYaYADAR$ANAM—V idjjsilasa Press, Banaras, 1920
NITISATAKA —Dhart[han
NA-n'A DARPAN’AM of RaMACANDRA AND GU^’ACANDRA—
Gaekwad's Onental Series.
BIBLIOCJUPHV
NAyYASASTRA OF BHARATA—‘Nirraya Sdgar Press
» ti t> —Chaukhambd Sanskrit Senes
»* » —Gaekwad’s Oriental Senes
NARADIYAPURANA—Vyankaieswara Press
PRATIMANATAKA—of Bh3sa
frAsAdamanpana—
BRHAT SAMHITA OF VARAHAMIHIRA—Vizianagram Sanskrit Series
BHAGAYATA PURANA—Vyankate4\vara Press
MAHABHARATA
MATSYA PURANA—VyankafeSwara Press
MANAsArA—E dited by P K Acharya
MALATl MAOHAVA
MUDRAVICAra VIDHIPRAKARANAM—by Pnyabala Shah
RASAGANGADHARA OF JAGANNATH—Nirnaya Sagar Press
RGVEDA-X
VISNUSAHASRANAMABHASYA of SaNKARACARYA—S ri Vani Vilasa
Press
VEDABHASYABHUMIKASAMGRAHA—C S S . 1934, Srirangam
VEDlC KO§A—by Hemaraja
SATAPATHABRAHMANA
Sabdakalpadruma
Sabdaratnakara
^abdaratnapradTpa
5AKUNTALA
^ILPARATNA of SHRIKUMARA—Trnendnim Sanskrit Series
6aradAtilaka
SAMARAf5GANA SOTRADHARA OF BHOJA^-Gaekwad’s Oriental Senes
SANgTTA RATNAKARA— AnandaSrama Press
SARASVATIKANTHABHARANA of dhoja
SAHITYA DARPANA of VISVANATH—Nirnaya Sagara Press
HARSACARITA— of Bana
Pall
PATASADDAMAHANNAVO
Prakrit
ABHIDHANARAJENDRA
RAY APASENIYAS OTTA
BHAGAVATISOTRA
ANUYOG A DVArAS UTRA
VISHHUDHARMOTTARA
XXI
Marathi
PURANA NIRIKSANA—by T G Kale
BHARATIYA JYOTISASASTRA—^ankar Balknsna Date
French
LE MAHAVASTU—Par E Senart
Gujarati
PURANA VIVECANA—Durga^ankar Sastn
SANSKRIT SAHITYAMAN VANASPATI—Bapalal Vaidya
Journals
INDIAN ANTIQUARY Vol XIX
INDIAN CULTURE Vol VI pt I, &. Vol VIII 1941-42
' THE INDIAN HISTORICAL QUARTERLY, Vol 9, 1933
THE JOURNAL OF AMERICAN ORIENTAL SOCIETY, No 52 1932
THE JOURNAL OF ASSAM RESEARCH SOCIETY, Vol 8, 9, 1941-42
JOURNAL OF BIHAR AND ORISSA RESEARCH SOCIETY, Vol 9, Part I,
1923
JOURNAL OF ORIENTAL INSTITUTE, BARODA, Vol I, No 3 1952
MARGA No 4
RUPAM No 37 and 40
THE VlSVA-BHARATI QUARTERLY, Vol XVI, Part II, 1950
I
ORIGIN OF IMAGE-MAKING AND TEMPLE-BUILDING
AND INTERDEPENDENCE OF ARTS
( i 3 Origin of image-making
• %
* As said in the introduction to the Sansknt text ( Vol I), the importance of
khanda III of Visnudharmotlara li^s id the incorporation of traditions regarding
art^ as they were practised in Ancient India* particularly the Gupta Age In fact,
I have called the work a treatise on arts
t It IS interesting to know how the subject of fine arts is introduced as an
imjiortant matter of study It is related to the primary urge of man of seeking
happiness here and hereafter.
King Vajra puts the question ‘ What would obtain for him great happi¬
ness in this and the other world ’ (Ad 1, Slo 1 ) Without hesitation
Markandeya answers the question ‘ an>one desiring the best of the two worlds
must worship gods (Devata pujanam ) ’ Then he dilates upon it There are
two ways of worship, one Antarvedi, the other Bahirvedi ’ The first is concerned
with the sacrificial cult, the other with vows of abstinence, fasting etc All those
heavens which are attained by sacnficial acts (I§ta) and chantable deeds
( apurta ), if desired, can be obtained by building a temple for gods ’ The merit
of l§ta and apurta is to be found in this single act » .
Markandeya then emphasizes the importance of building temples, parti¬
cularly in the kali age “ In the former three ages-^Krta, Trcta and Dvapara
■■ - n
> Com^narc — rav3;iJi
Ncl 5 IM II
^Ht amtii it ^ ii
’ll sfagi z i
5TTt cTcT. ?TTr II X 11
!Rqq^ If II V II
qvt siifi stq. i
xn-i qt qmqr ^ ?tq’ q^»i, n ^ n
siq^ 3 trqr ftu 3 gq i
gn n ^ it [J
2
VISNUDI lARAIOnrARA
men ^^c^c able to see a god directly but in the kali age men have lost that faculty,
therefore they have to worship them (gods) in an image Even jn former
ages when a god was visible, men used to worship him in a particular image
So a man of learning should worship a well formed ( surOpl) image because it is
to such an image that a deity becomes proximate Anyway he must avoid an
image uncanonically made "
An image of divinity has to be installed in a temple and so temple budding
Itself becomes a mentonous act So MSrkatiidcya declares
inn I
titr gpnn n u [ ^ i ]
**To build a temple is mentonous, so is the making of an image of a deity
Mentonous is the worship of a divine image and so is its adoration ”
Thus the social motive of seeking happiness here and the religious motive
of hereafter or rather the religious motive of seeking happiness here and here
after become forces in the development of the arts of image making and tcmple-
buildmg m other words of Sculpture and Architecture This tradition is amply
corroborated by the monumental remains and history of architecture and sculp¬
ture in India It would, however, be erroneous to assume that non rchgious
sculpture was unknown to earlier times The statues of a dancing girl and a
nobleman found at Mohen jo daro would go to show the existence of a secular
art of sculpture
Another part of this tradition leads to some histoncal speculation The
statement that there was not much of image making and temple building m
Kfta Dvapara and Treta ages, might suggest a belief of the R 51 S like Mar
Kandeya that image worship did not prevail m earlier times This would accord
well as far as the earlier Vcdic cult of saenhee is concerned In fact this is the
Antarvcdi worship The reference to occasional worship of images even in the
earlier times might be reminiscent of pre Vedic image worship If this inter
pretation is correct one can say that this tradition preserves the memory of some
historical facts We now know that the cult of image worship was prevalent in
the pre Vedic Indus Civilization and also that the Vedic cult of saenfice requires
no images Later on with the fusion of these cultures the popular cult of Indus
people became more and more influential and the post Vcdic Puranic religion
became characterized by image worship and lcrnpk*bui!ding
( il ) Interdependence of Arts
In adhySya 2, Vajra in due course requests Markatjdeya to teach him such
an important art which brings happiness in this as well as the other world But
MSrkandcya would not let him have the knowledge of sculpture so easily As
It turns out, the knowledge of this art makes it necessary to have the knowledge
ORIGIN OF IMAGE-MAKING. INTERDEPENDENCE OF ARTS 3
of other arts upon which it is dependent In this way, we arc introduced to a
tradition regarding the interdependence of arts
Let us see how this interdependence is shown —
Vajra O sinless one. How should I make the forms of gods so that the image
made according to rules may always manifest (the deity)'^ (1 )
Markandeya He who docs not know the canon of painting (citrasQtram)
can ne\cr know the canon of image-making (Pratima laksanam) ( 2 )
Vajra O scion of Bhfgu Race, explain to me the canon of painting because
one who knows the canon of painting, knows the canon of image-making
(3)
Markandeya It is scry difficult to know the canon of painting, without the
canon of dance, because O king, in both, the world is to be imitated
( or represented) (4)
Vajra Explain to me the canon of dance and then >ou will speak about the
canon of painting because O Iwicc-born, one who knows the practice of
the emon of dance, knows painting (5)
Murkandeya Dance is difficult to understand by one who is not acquianted
with instrumental music (Atodya) Dance can in no svay be known
without It ( 6 )
Vajra O the knower of Law, speak about instrumental music and then you
will speak about the canon of dance, because O excellent BhJrgasa, when
the instrumental music is properly understood, one understands dance
(7)
hUrkandeya O Acyuta, without vocal music, it is not possible to know in-
sirurocnta! music One who knows the practice of the canon of vocal
music, knows everything according to rules ( 8 )
Vajra Explain to me the canon of vocal music, O the Best of the holders of
Law, because one who knows the canon of vocal music, is the best of
men who knows everything ( 9 )
Markiodcja Vocal music is two-fold—Sanskfta and Prakpa and the third
Apabhnsh, however is infinite, (10), O king, on account of the vanelj
of local dmlccts, its limit cannot be determined in this world Vocal
music IS to be understood as subject to recitation and recitation is done
m two ways. Prose and Verse (11) O knower of Law, Prose is as found
in convcrsaiion while verse is as m metre Metre is of many varieties
Ttr —tprtl’n'TiqlM 'CN’ttiT stnm i
i;T;TF*rV;*ni •' ^ »
s*'^hI*xV^ n j n rr^ n X b
4
VlSMUDUARKfott-AftA
II ^ II
mitt—fr^r 5 Sjl^3[»i. i
3ITI%grT7I !mf gi II V II
—3^15113 ?t4i=!I^-^ l
?^xtT^f7'=lRHr*?q *l^T I ^ il
j?iT»—3j??^q ^ fT^ ?« g5f??q; j
3ii^gir ft?r( g=n ^ ii ^ n
?ra —an^ i
^ ?Tl ^Tl’t^TJlI II VI II
JTI^o —^ R^TT T^sj^i^tyn^w 1
tt c t)
—rfl^rinr^ ^j: \
3^q(TiiT II ^ It
i^il-o—Rff?T rgL[t*Tg[7?jTr i
g fT^'<T II 1o II
^RMnir^i^'Tr I
iflfT ^ ^ <n3t fr*^i II '^n II
^ ^rr^r g^qr 1
^rl ?rrfrH3t^ffix?j7^8i sigvri 13 ri
The importance of the passage quoted above cannot be emphasized too
much U gives a tradition conscious of the relation and interdependence of
various arts From sculpture we arc led step by step to painting dancing and
music of instruments and singing Singing invohes literary compositions This
leads us to literary arts and the knowledge of languages current in India at that
time te SanstcTit, FfaiJni ana^irte uncTrafng'vaiTety o7'‘itfe'rfpstWraTpsa’
This juteffelation of arts js corroborated by two historical facts A
comparative study of the monumental remains of sculpture and painting on one
hand and Sanskrit texts on dancing on the other ivould show that they are closely
interrelated m their subject matter, so much so that these monuments serve as
visual illustrations of the verbal explanations of the text In fact it is very diffi¬
cult to understand one without the aid of the other
The other corroboration comes from the fact that m Ancient Indn a
temple was the home^ of all arts The temple itself was an embodiment of archi-
1 KumSraviharatalaVa by Rxmachandra
Origin of image-making
INTERDEPENDENCE OF AJlTS
5
lecture. It was decorated with sculptures and paintings It had halls for music
and dancing as well as for the recitation of the Katha Kavyas and the acting
of dramas In fact, all arts came there and fulfilled the needs of devotional
worship and aesthetic tastes The temples were open to all their followers
and consequently served as institutions of popular artistic culture In addition
to the palaces of kings, mansions of merchant-pnnccs, Saraswati bhavanas of
cities were alike places where all these arts were to be found m company They
were presented for entertainment and examination which made their compre¬
hensive knowledge, a necessary item of the education of a Nagaraka ‘ The
famous verse attributed to Bhartrharl—SShitjasangita kalavihlnah Sak§atpa§uh
Pucchavi^anahlnah ]i 12 (Niti^ataka) is thus not a euphuism, but reflects the
opinion of the cultured society of ancient India
Thus this tradition of Markandcya of the interdependence of arts and the
consequent educational necessity of learning them preserves what was a living
trait of the ancient civilization of Indn
1
11
VARIETIES OF LITERATURE
M3rkan<^eya's theory of the interdependance of arts led ys lo the vocal
art of song which because u employs speech earned us to language and literary
arts From Adhyaya 2 (verse 10) to Adhyaya 17, Markandeya descnbes and
discusses topics concerned with literary arts
Slokas 13 to 22 of Adhyaya 2 briefly desenbe the grammar of Sanskrit
language AdhySya 3 is devoted to Chhando Vidhi i e -metres Adhyaya 4
which IS called VdkyapaTik§a, discusses the different types of sentences While
Adhyayas 5 and 6 which are called TantragunadojadhySya and Tantraluddhi
are concerned mlh dialectics Adhyaya 7, which is called Prakrta^hhasaJak-
5anam treats bnefly the rules of Prakfta grammar Adhyayas 8 to 13 arc devoted
to lexicography Adhyayas 14 to 17 discuss, what may be called the art of litera¬
ture proper
In Adhyaya 2 verse 10 we are told that song according to the language m
which It IS composed is of three varieties viz Sanskfta, Prakrta and Apabhrafta
The last is ananta infinite because there is no end to the particular dialects of
different regions The implication is that Apabhra?ta will not be treated by
MSrkandeya
The song is dependent upon Patl’®—literally recitation or what we might
call the text of the song This PSIha is of two types Gadya (Prose) and
Padya ( Verse) The point to be noted here is that the text or Pdtha may be
in Prose This remark is of some importance in the history of singing ^
Gadya is defined by the term SarfikathS (conversation) the speech which
man employs m ordinary talking Padya is distinguished by a particular
Chanda which is of many vaneties The important thing however, is that both
Jthr .toniu} Gad^va ^nd Pad.va are Laksanasairivutam—rejulated by definitions,
what we might call disciplines proper
The verse is Suvarta or Suvftta and Atimuktaka
After this general classification of literature into Sanskrit, Praknt and
Apabhra^ta as well as prose and verse, we are next taught rudiments of Sanskrit
grammar as well as metres { Ads 2 and 3 ) Markanijeya’s idea seems to be,
lo give the elementary knowledge of such disciplines as are more general Thus
we are told in the last verse (22) of AdhySya 2 that the whole speech m prose
or verse is based upon Grammar VSfigmayamakhilarnanena nibaddhatp
1 cf R&ytpdsepiya
VAKlEtlES OF UTERATURE
7
gadyamapi yadathapadyasametaip II The subject matter of Adhyayas 4, 5 and 6
VIZ Vakyapanksa, Tantragunadosa and TantraSuddhi can be in prose and verse
both These subjects are treated mostly in Sansknt
Adhyaya 7 takes up Praknt and Apabhrasla In ten verses a very bnef
account of Praknt is given and as in Sanskrit grammar ( Ad 2 verse 21), so
here, we are told that this is only Dinmatram In addition verse 11 advises us
to learn the details from prayoga practice To give them all, would be very
lengthy Apabhrasta is disposed off m one verse with the remark that it is not
possible to define the vanations of speech of different regions and is the province
of those who know the different regions and should be learnt from them This
IS followed by six Adhyayas on Abhidhanakosa—three of which give elementary
knowledge of substantives—particularly those words which would be useful in
understanding gods, goddesses, planets etc and the remaining treat of genders
We shall treat the subject of metres m connection with literary arts In
the next chapter we take up the topics of Vakyapanksa (Ad 4) and Tantra-
gunado^a (Ad 5) and TantraSuddhi (Ad 6 ) The topics concerned with
different kinds of propositions and Gastric compositions and dialectics
Of these the short accounts of Sansknt and Praknt grammars as Well as
the small Sansknt lexicon give the usual information
The adhyayas on Vakyapankja (Ad 4), Tantragunadosa (Ad 5) and
TantraSuddhi ( Ad 6) however, give information which have some noteworthy
points
In Vakyapank§'i (Ad 4), the first 9 verses arc devoted to the utterances
(vakya) of different classes of super human and human beings Thus Mar-
kandeya starts with the utterance of Svayambhu and then describes the utterances
of Rsis, Richikas, R^iputras Friends, Kings, Danavas, Raksasas and Nagas and
finally the Pauruja or human utterance This is followed by the mention of the
Mantras, which are classified as Rks, Yagu?cs and Saman’s The subject-matter
of these mantriis are also mentioned
The utterance of SvayambhQ is splendid, profound, imperative and free
from duplicity or doubt The utterance regulated by cases expressing a thing
directly ( pratyaks’lbhihitam) is called the speech of R§is When the utterance
IS full of a vancty of words and particles (NipSta) but not very big or long
(sumahat), it is called the speech of Rcika That is known as the speech of the
l^Siputras in which the words are not quite clear and contain the knowledge
of past, future and the present as well as the denunciation of unhappiness of
birth (le life) That is known as the utterance of a fnend (Mitravikya),
whose inner meaning directs the listener to one of the purposes of life ( puruj-
flrtha ) ‘When the utterance has the nature of an order without the mention cf
8
VISNUDKARMOTTARA
reasons, it is a speech of Rfljarjis The speech of gods is rich la meaning pro
fuse in utterance and capable of expansion, while that of Danavas is profuse
in utterance but meagre in sense The speech of the Gindharvas is meagre
jn utterance as well as meaning The speech of the Rifc^asas is rough and
difficult to understand In the speech of the Yaksas a syllable is kept silent
(Gu^hak?ara) while in that of kinnaras the syllabic appears as if uttered
C uktavat) The speech of the Nagas is very distinct and accompanied by
repetitions The speech of man is inspired by Raga and Dvesa and rational
The subject of the Vedic metres^ is described as consisting of Stuti ( Com
1 The following NyayasOtras and the Bhajya of VSfsyiyana on them (Ad 2 Anhilta I)
II II
’ ti II
TlfR 3nT?7 II Sir M
“?t tR ^rr nsnil ^rin^r
^r^eT HR Sfl Tf" i
<Tff^ I gc^r sfTFT^I RsfiTTfwf ^ ST-r
I
trt^aqtrt^ftnf grtTei i ” ir^q sritim Riqfttlqq
qq qt?Ri50?(?qtqi5qi?sRlrl * qiqiTqiiF*iR=R tifj qi’-t^^T
5ft ti 5'*^ II
(r-r 162 163)
rqRT5I'I'i;
Vidya \ifas Press
Benares 1920
Alio compare the following from Slyanas Vcdabha^yabhQm Wsamijratia
Tj^^fTTl I VrFTI-’^^Ff^ ^ 43^53 I—
ft ?t 1
q^ftrqi sqqqttihT^^t ii
<p 36y
Tlic Chovvkhamba 5 Senes 1934
VARIETIES OF LITERATURE
9
mendation), Ninda (blame), Prasanisa (praise), Akrosa (abuse), Preja (call-
or order upon the assistant pnest), Prasna (question), Anujna (consent),
Akhyana (illustrative story ), Asasti ( blessings )
These refer to the nature of Vedic sentences, particularly the sentences of
the Brahmanas The meaning is that some sentences are of the nature of
commendation, some censure, some order etc
In the opinion of Markandeya all learning—Sarvavidya is defined by the
definition of the different kinds of utterances Then he remarks that the defini¬
tion differs in human learning, but not in non human beings who do not swerve
from their nature Amongst men, however, there may be some who may be
superior in point of intelligence and therefore his intelligence is regarded supenor
to all
It IS very difficult to discover the significance of these utterances ( vakyas )
of the different types of beings The utterance of Svayambhu can be regarded
as representing the original assuming the form of the Veda whose injunctions
arc imperative (ajnayuktam ) The utterances of the Rsis and Rsiputras might
apply to the various teachings contain in the Sastras but it is difficult to make out
the meaning of the word Rci( "^ci )ka Rcika is a Rsi descended from Bhrgu
It IS also the name of a country mentioned m the Dasakumaracaritam So the
passage may be interpreted as either the utterances of the Bhargavas or the
speech of the inhabitants of Rcika country But we cannot say, however, what
IS the significance of these kind of utterances If wc adopt the reading Rcika as
suggested in the text, it might mean the speech of the Rsis of the Rgveda Of
the other types, wc might note the human utterance It is characterized by the
feelings of likes and dislikes and it expresses reason This is noteworthy
Tantrngunadosa
After Vukyapiriksd, there comes Tantragunado^a te merits and defects
of Sastnc or dialectical (Tantra ) writing Ad 5 starts with the definition of a
SOtra It IS short, soid of doubt containing essence, capable of giving as many
sense as possible (lit basing many mouths) uninterrupted and faultless This
IS the general definition Tlic Sutras arc of isso types Utsarga SOtras and
Apavida SOtras meaning SOtras gismg general rules and SOtras gising exceptions
rcspcctis-cl> These types arc to be found in V'jakanma Mlmaipsa and Dharma
sGltas but not m NySya and Vaiscsika sulras The Sfltra has four parts ( angas )
SOtra proper (probably meaning the statement). Vyudasa (refutation) Ud i-
harana (illustration) and Pralyudaharana (counter illustration) There is
another way of describing these four parts namely V.Ikya (proposition)
Vakyartha (meaning of propostion ), Padi (word) and Padartha (meaning
of a word) After this five membered syllogism (Pancivayava viikya) is de¬
scribed in accordance with the Nyavasutra of Gautama These five members
VARIETIES OF LITERATURE ll
4 Samvada—^harmony, resemblance e g Amatan matrvat i e calling a mother
who IS not mother, Jitvari-agreement
5 Kartaka—js from Krtaka i e conventional e g Pino Devadatto diva na
bhunkte
6 Aupacara—Tailapaia js called Tula
7 Sambandha—from connection eg Mimansaka is called Chhatii,—who holds
an umbrella
8 Samyoga—the relation of an activity
9 Kraiyika—one who sells is called Kraiyika Similarly Pailakrt, Lagud-
acchcdyah, Sakatika etc
10 Here the tenth variety seems to be missing
This is how the words in lexicons may be explained
When the thing to be proved is not well known it can be proved in the
following way —The Pratyak§ajnana i e perception arises from the union of
the object, the sense concerned, the mind and the soul as located at a particular
point m a space Just as the inference of fire is made by smoke, so the inference
of the soul is made by the buddhi (intelligence) The Smrti which is approved
b> the learned and which is in harmony with Vedas can be a means of moving
things, which are not visible This sort of proof or Sadhana is called iastra
When out of two similar things, the term for one is extended to the other, it is
called Upamana Where the thing to be pro%ed is not said but is to be guessed,
it IS called Arthlpatli eg, Faty Deiadatta does not eat by day time So we
guess that he cats b> night time In the last verse, six ways in which things can
be proved, are given These arc (1) Nipatana, (2) Yogivibhagadarsana,
(3) GurQpadc5a (4) Anuvartika, (5) Svatantrasiddhi, and (6) Paratantra-
darsam
Tantra Suddhi .
Ad 6 describes the various kinds of arguments used in a ^astra These
arc Adhikarana, Yoga, Padartha, Hetvartha, UddeSa, Nirdcia, Upadcln, Apadeia,
Pradeia, Atidc§a, Apavarga, VSkyaSeja, Arthapatti, Prasanga, EkSnta, Anckanta,
Pilnapakja, Nirpaja, Vidhana, Viparyaya, Atiktantivckjana, Anagataveksapa,
Samiaya, Ativyakhyam, Anumita Svasamjha Nirv'acam, Dr$tanta, Ni>oga,
Vikalpa, Simuccaji and 0hj*a
The rest of the adhyaia is devoted to a bncf explanation of these
Adhikarapa—Lit a section which covers a discussion with reference to a parli*
cuhr subjat or topic { artha )
\oga—tint by which the meaning of a sentence fits properly
Padanha-~that which is taken ns an authentic seme
Hetvartha—that argument which establishes a subject
10 VISN’TOHARMOTTARA
are (1 > PralyRd (proposition to be proved), (2) Hetu (the reason), (3)
Drjtanta (the illustratron with generalisation), (4) Upasamhara (application)
and (5 ) Nigamnna (conclusion )
The interpretation of Sutra has six parts (I) Arambha (beginning),
(2) Sambandha (relation), (3) Sutrartha (the meaning of sutra), (4)
Sfitrartha Vi^cjana (further elucidation of the meaning of sutra), (5) Codani
( objedtjon ) and (6 ) Panhara ( removal of objection )
If what IS given in a sutra is stated at length, it troubles the mind If
stated briefly, it is not grasped Therefore a statement in a sutra should neither
be very bncf, nor very long
Next come the defects of Vakya (proposition) They arc known as
Nigrahasthanas in Nyayasuiras These are Apartha, Vyahata, Punarukta,
Vibhannasthana, Vibhinna-Samsthana Yuktihina, Kramabheda, Vibhakta,
Gurusutra, Abhidhananiyatva
A sutra should be explained thus first separate the words, then take
them together {re show the anvaya or order ) and then explain the mean¬
ing A yoga / e Nyaja proposition is explained thus ( 1 ) a meaning of the
sutra ( sutrartha ), ( 2 ) a meaning of each word ( padartha ), ( 3 ) reason ( hetu ),
( 4 ) order (*> kramaSaslata ), ( 5 ) Explanation ( Nirukta ), and ( 6 ) laying
down the proposition (Vinyasa)
The Tantra has three Pramanas Pratykja, Anumana and Aptivacana
Here the word Tantra may refer to the samkhya and its allied yoga school and
olhcr^ Darianis wluch accept three pramSnas only As against the \ahd
Pramanas these arc what might be called illusory pramanas the illustration of
the illusory pratyakja is the mirage The illustration of the illusory inference is
the inference made from Bi-spa te steam and collection of sand which creat the
appearance of smoke The illustration of the illusory apta is the statement made
by one who shows himself to be an Spta but is not really so An apta is a
person who is free from J/kes and dishkcs ( ruga and dveja )
A denvation is of two kinds one called Siddha tc valid on account of
grammatical rules and the other derivative / e which can be derived from rules
In Siddha meaning is fixed while in Autpaltika words can be denxed eg words
like Gau, A5va, Punija are derived (by Yaska) The secondary meaning of
a word is of ten kinds Oauna, Naimitlika, Bhakta, SamvUda, IC^rtaka, Aupa-
eftra, Sambandha, Samyoga, Kraiyika etc
1 Gauna-~on account of Guna quality c g Mahat etc
2 Nainiittika—From Nimitla causes Khandaraunda etc
y Bhakta—through Bhakta ■means division e g Nfsiiriha
1 See NySyaVofia jf 556
VARIETtES OF LITERATURE 11
4 Samvada—harmony, resemblance e g Amatari matrvat i e calhng a mother
who IS not mother, Jitvari-agreement
5 Kartaka—is from Krtaka i e conventional e g Pmo Devadatto diva na
bhunkte
6 Aupacara—TailapaSa is called Tula
7 Sarabandha—from connection e g MTmansaka is called Chhatii,—who holds
an umbrella
8 Samyoga—the relation of an activity
9 Kraiyika—one who sells is called Kraiyika Simi}arl> Patfakrt, Lagu^-
acchedyah, ^akalika etc
10 Here the tenth variety seems to be missing
This IS how the words m lexicons may be explained
When the thing to be proved is not well known it can be proved in the
following way —^The Pratyaksajnana t e perception arises from the union of
the object, the sense concerned, the mind and the soul as located at a particular
point in a space Just as the inference of fire is made by smoke, so the inference
of the soul is made by the buddhi (intelligence) The Smrti which is approved
by the learned and which is in harmony with Vedas can be a means of moving
things which are not visible This sort of proof or Sadhana is called S5stra
When out of two similar things, the term for one is extended to the other, it is
called tipamana Where the thing to be proved is not said but is to be guessed,
n IS called Arthapatti c g, Faty Devadatta docs not eat by day time So we
guess that he cats b> night time In the last verse, six ways in which things can
be proved, are given These are (1) Nipatana (2) YogavibhagadarSana,
( 3 ) Gurupidc^a ( 4 ) Anuvartika ( 5 ) Svatantrasiddhi, and ( 6 ) Paratanlra-
dar^am
Tanlrn Suddlii
Ad 6 describes the various kinds of arguments used in a iastra These
arc Adhikarana, Yoga, Padartha, Hetvartha, UddeJa, Nirdcia, Upadc^a, Apadc^a,
Pradcia, Atideia, Apavarga, VakyaSesa, Arthapatti, Prasanga, Ek4nta, Anckanta,
Piirvapak$a. Niryaya Vidhana, Viparyaja, AtikrantJvckfana, An5gat3vck5ana,
Samiaja, Ativ-jakhiana, Anumata SvasamjhJ Nirvacana Dfstflnta, Niyoga,
Vikalpa, Samuccaja and Qhp
The rest of the adhj'ija is devoted to a brief explanation of these
Adhikarapa—Lit a section which covers a discussion with reference to a parti¬
cular subject or topic (artha)
Yoga—that b> which the meaning of a sentence fits propcrl)
PadJrtha—that which is taken as an authentic seme
Hetvartha—that argument which establishes a subject
10
VlSNUDHARMOflARA
arc (I) PratijSa (proposition to be proved), (2) Hctu (the reason(3)
Drstanta (the illustration with generalisation(4) Upasamhara (application)
and (5) Nigamana (conclusion )
The interpretation of Siitra has six parts (I) Aramblia (beginning),
(2) Sambandha (relation), (3) Sulrailha (the meaning of sutta), (4)
SQtrartha ViSejana (TuTlher elucidation of the meaning of sQtra), (5) CodaM
( objection ) and (6) Panhara ( removal of objection )
If ^\hat js given in a sutra is stated at Jength, it troubles the mind If
stated bnefly, it is not grasped Therefore a statement in a siitra should neither
be very brief, nor very long
Next come the defects of Vakya (proposition) They arc known as
Nigrahasthanas m Nyayasutras These are Apartha, Vyahata, Punarukta.
Vibbinnasthana, Vibhinna-Samsthana, Yuktihma^ Kramabhedn^ Vibhakfa,
Gurusutra, Abhidhananiyatva
A sutra should be explained thus fir&t separate the words, then take
them together (r^ show the anvaya or order) and then explain the mean¬
ing A yoga I e Nyaya proposition is explained thus ( I ) a meaning of the
sutra ( sutfartha ), { 2 ) a meaning of each word ( padartha ), ( 3 ) reason ( hetu ),
(4) order (krama^astat^ ), (5) Explanation (Nirukia), and (6) laying
down the proposition ( Vmyasa )
The Tantra has three Pramanas Praiyksa, Anunnna and Apta^acana
Here the word Tantra may refer to the samkhya and its allied yoga school and
other^ DarSanSs wluch accept three pramanas only As against the
PramSnas these arc Avhat might be called illusory pramJnas the illustration of
the illusory pratynk^a js the mirage The illustration of the illusory inference is
the inference made from Ba^pa i c steam and collection of sand which creat the
appearance of smoke The illustration of the illusory apta is the statement made
by one who shows himself to be an apta but is not really so An apta a
35crsoi\ who vs free from Ivkes and dislikes (rSga and dvesa)
A derivation is of two kinds one called Siddha re sahd on account of
grammatical rules and the other denvative ie which can be derned from rules
In Siddha meaning is fixed while m Autpalhka words can be derived eg words
like Gau, A5va, Puru$a are denved (by Yaska) The secondary meaning of
a word is of ten kinds Gauna, Naimittika, Dhakta, Samvada, KSrtaka, Aupa
cara, Sambandha, Sarnyoga, Ktaiyika etc
1 Gauna—on account of Guna*quahty eg Mahat etc
2 Namnttika—From Nimitta causes Khandamuiiida etc
“t BhSkta—through Bhakta means division eg N|*sinih'i.
1 See NyAyakoSa p 356
VARIETIES OF LITERATURE 11
4 Samvada—harmony, resemblance e g Amatari matrvat i e calling a mother
who IS not mother, Jitvan-agreement
5 Kartaka—IS from Krtaka i e conventional e g Pino Devadatto diva na
bhunkte
6 Aupacara—^Tailapasa is called Tula
7 Sambandha—from connections g Mlmansaka is called Chhatri,—who holds
an umbrella
8 Samyoga—the relation of an activity
9 Kraiyika—one who sells is called Kraiyika Similarly PaUakrt, Lagud-
acchedyah, Sakapka etc
10 Here the tenth variety seems to be missing
This IS how the words in lexicons may be explained
When the thing to be proved is not well known it can be proved in the
following way —^The Pratyaksajfiana le perception arises from the union of
the object, the sense concerned, the mind and the soul as located at a particular
point in a space Just as the inference of fire is made by smoke, so the inference
of the soul IS made by the buddht (intelligence ) The Smrti which is approved
by the learned and which is in harmony with Vedas can be a means of moving
things, which are not visible This sort of proof or Sadhana is called ^astra
When out of two similar things, the term for one is extended to the other, it is
called Upamana Where the thing to be proved is not said but is to be guessed.
It is called Arthlpatti e g, Faty Devadatta does not eat by day time So we
guess that he cats by night time In the last verse, six ways in which things can
be proved, arc given These are (1) Nipatana, (2) YogivibhagadarSana,
( 3 ) GurupadeSa, ( 4 ) Anuvartika, ( 5 ) Svatanlrasiddhi, and ( 6 ) Paratantra-
darsana
Tnntra Suddhi .
Ad 6 describes the various kinds of arguments used m a Sastni These
arc Adhikaratia, Yoga, Padartha, Hetvartha, Uddesa, NirdeSa, Upadesa, Apadeia,
Pradcia, Atidcia, Apavarga, Vakyaic§a, ArthapaUi, Prasanga, EkSnta, Anekanta
POnapakp, Nirpnya Vidhana, Viparyaya, Atikrantavekjana, AnagatSvekjana'
Sam§a>a, Ativjakhjani, Anumata Svasamjna, Nirvaeam, Drs{anta, Niyoga]
Vikalpa, Samuccaj'a and Qhj-a
The rest of the adhj^ja is devoted lo a bnef explanation of these
Adhikaraiia—Tit a section which coven a discussion with reference to a pirti-
euhr subject or topic (artha)
^oga—that b) which the meaning of a sentence fits properly
PadSrtha—that which is taken as an authentic sense
Hetvartha—that argument which establishes a subject
12 VI^NUDI lARMOTTAR K
Uddc5a-^a brief si itenicnt
Nirdesa—statement Ol length
Upade^a—'Usameva'—statement saying ‘it is positively Ijlcc this’
Apadc-^a—!>tatement showing reason
Pradesa—proving the subject matter in hand by something m future
Atidesa—extension beyond the subject concerned
Apavarg4-t—Patching out nn intended meaning
Vflkyaseja—the understood ( ahjrya^^^adhvih^rya ) word b> which the meaning
IS completed
Arlhapatli—the unmentioned meaning which has to be taken m order to make
the sense reasonable
Prasanga—a topic which has been mentioned in the chapter but which is men¬
tioned again in some context
Ekanta—that which as always like that
Anekanta—that which is at some place like this and at other place diflerent
PuTvapak?a—the proposition which controverts a statement
Nirnaya—the proposition which answers the objection
Vidh^na—the order of a discussion
Yiparyaya—the opposite of Vidbuna
Atikrantavek^ana—il has been said bke that
AnJgativcksana— I will say it later on
Samiaya—lo show reason in both the alternatives
Ativy^ikby^na—an excessive statement
Anumata—not negalivating the opinion of the opposite party
Svasamjna—the word which is not accepted by the opposite parly
Nirvacana—the exarnple which is well understood by the people
Drst^nla—that which illustrates the argument
Niyoga—it IS positively like this
Vikalpa—it may be like this or like this
Samuccaya—u is like this and hke this
Ohya—that which is not mentioned but which can be understood by argument
The S^mvartika dharmaguna is of eight ktnd> ( 1 ^ Prayojana { purpose
{2> Samiaya (doubt) (3) Nimaya (definite conclusion), (4) Vyakhya-
viic^a (particular explanation), (5) Guna (secondary sense), (6) Lighava
(brief), (7) Krtavyudasa (refutation) and (8) KitaSSsana (assertion of
ft rule)
VARIETIES or literature
13
Literary Arts:
Now we come to literary arts proper We will first take up chhandas
(metres ) because metres have a claim to be included m any discussion of arts
especially literary arts This would be followed by Ahrpkdra ( figures of speech)
and Prahelikds (the art of putting riddles) Then we will take up the topics
of the varieties of literature particularly Kd\ya and Mahdkdvya This would be
followed by a discussion of the twelve types of the Drama
Chhandas:
The chapter (Ad 3) on metres is called chhando \ldhh It is said in
Ad 2 ilokas 11 to 13 that Gita is dependent upon recitation (patha)
This patha is of two kinds Gadya { prose) and Padya ( verse) Gadya
IS in the natural style of samkatha ( conversation ) while Padya is characterized
by a chhanda (metre ) It js of many kinds
The third adhyaya of our text mentions by name the following metres —
Gayatra
of
6 syllables
Atya§ti
of
17
syllables
Usmk
of
7 syllables
Dhrti
of
18
syllables
Anusiup
of
8 syllables
Atidhrti
of
19
syllables
Bfhati
of
9 syllables
Krti
of
20
syllables
Pankti
of
10 syllables
Prakfti
of
21
syllables
Tristubh
of
11 syllables
Akrti
of
22
syllables
Jagatl
of
12 syllables
Vikrti
of
23
syllables
Atijagati
of
13 syllables
Sankfti
of
24
syllables
§akvari
of
14 syllables
Atikrti
of
25
syllables
AtiSakvan
of
IS syllalbes
Utkrti
of
26
syllables
Asti
of
16 syllables
NatyaSastra^ describes the same types of metres with the numbers of their
syllables described above But it gives five more types They are as follows _
Ukta of I syllable
Atyukta of 2 syllables
Madhya of 3 syllables
Pratistha of 4 syllables
Supratistha of 5 syllables
It IS difficult to say how far our text is indebted to Natya^Sstra The fact
that It omits five kinds of metres described by N S might suggest that it may
have some older authonty which may not have included these five kinds It is.
1 NStya{5stra, AdhySya 14, Slokas 41-47 (p 224) N Sagar edition This subject matter
II treated alio in luch norks as Chhandaf Sistra, ChhandassSra of N Sagar Press
14
VI3N UDIf ARJtOTTARA
however quite possible that our text might be giving only an abridged version of
N S
Some general rules of long (Guru) short(Laghu) and pliiu racasurcs
and scansion arc also given The metres lacking one syllable arc called Nicft
or Nivflia having an additional syllable are called Bhunk lacking two sjllalbes
are called Virit and having two additional syllables called Svar3| This can be
compared with Katyai^slni Ad 14 ilos 56 5 & * We are told that all the Matr3
metres come out of these Here also we are warned that this treatment of metres
IS only suggestive In order to get a more extensive knowledge of the subject
one must use one s intelligence ( Svadhija yathJvat )
Alamkaras
The art of metres is concerned with the vowel quantities of a language
Thus It gives us various vocal rhythms The art of Alamkaras is properly speak
mg the art of beautiful speech A part of it like the metrics is concerned with
the vanous consonantal harmonics But the major concern of the Alathkaras
IS with beautiful modes of expressing the meaning (Arthi)
Our text m Adhjjya 14 makes no mention about the number of Alam
kams nor does it give any general dcfinitton of Alamkara as such tVe find
however that it treats of euthteen. Alamkaras Of these two Anupr5sa and
Yamaka are what arc known later on as SabdSlamkaras The remaining sixteen
Alamkaras arc Rupaka Vyatireka Sleja Utprek^a ArthantaranyaSa Upanyasa
Vibhavana Atiiayokti Svabhavoktt Yath5samkhya ViSesokti Virodha Nirda
stut !l*Jidar4ana Upama and Ananvaya
AnuprSsa’—Repetition of a letter (consonant) is called Anupmsa by the
anaents—in accordance with the mean pg ( Arthagatya } of the word anu
prasa On this the remark is that if it is overdone it becomes vulgar—
Atyartham tatkftam rSjan grarnyattmupagacchati
lit apjf: gi" { 5 *) t
qr it ii
ftp'll »
g ti ii {C S S )
2 (.£ JFtHn' I Tts^jp^^ (itr*!?)
3T k ^ ^
^«i!iRttgRttT '4‘ '1^3 ^
VARIETIES OF LITERATURE
15
Yamaka^^When similar sounds having different meanings arc repeated, it li
called Yamaka It may be placed m the beginning, middle or at the end
of the Pada Two varieties of Yamaka are mentioned—Samdam§taka
and Samudga It may be noted that Bhamaha gives a similar dehnition
of Yamaka but avoids ambiguity by using the word iruti instead of sabda
Rtipaka*—Rupaka is the first Artbalamkara to be considered It is defined
as ‘ similarity of Upameya with Upamana ’
Vyatireka®—^\Vhen m the above ( Rupaka), however, there is supenonty of one
attribute ( ekagunadhikam ), it is called Vyatireka on account of the differ¬
ence or distinction based upon gunas (gunanarp Vyatirekena)
In the other variety of Vyatireka, superiority is shown by attributes
which are the opposites of the attnbutes of Upamana
1 Compare Bhamaha—
3T II It
II ^ n
Sliel rniPT il I® 11
3?. ^
K L
Our text does not mention Avail
Compare also Dai;id»n—
rg[ r?? JTpsEmr I
g^E^I ffST II ^ II 3t. ^
2 cf a'lJTmJi ^qir i
Q<nmr nm ct^ 5- n r*! ii at. ^ k l.
I 3t. It kd.
ii ti at. r k.l
Hit p Twip n ICO n 3t.
16
VtSSUDHARJIOTTARA
Slcja*—^NVhcn a word has two or three meanings, n is called iSicja.
Ulprck^a*—When a thing has one nature but when it is imagined as basing a
difierent nature (anyatha), it is called Ulprek^a.
Arthantaranyasa*—When such a meaning ts proposed as is diflerent from the
relevant (prastuta) sense but consistent with the preceding sense, it is
called ArthantaranySsa
r
Upanyasa*—When one thing is proposed and another is mentioned, it is called
Upanyasa.
Vjbh5vana*—When something js produced without a cause (lit. spread—vitat5
prokta), It IS called VibhavanS
Atiiayokti*—When Upameya is described wth attributes which have no parallel
in the attributes of the Upam3 {or which surpass them ), il is called
AtiSayokti
geiratnwn sn’at fVs n tv ii a?, t k.i.
<T^rn5r fl?ii ii ii w. x k.d
a sr? t
u m ii at. X k l
Eli I
at;.auicH^% ?i7 faj^qr xxi ii at. x kd
Our definition resembles more Daudin’s defimlion
*tqt ii '»'i ii a?, k l.
^JT; ^sql'SiKtrnt t
tTttnq'ttrnqw q^iJETi || \) at. X KJ).
OifT dcfituooii resembles more Bhlnriaha
4 This name is not found in Bhamaha and Daudm.
5 mitn- ^ ti5T?.^sr f^qixEti i
Itni HRiqr o w'* it at. x k l,
aftratssxixtqt TixonscTtq;^ i
?T5i xi ftmK} Ri fxmqqr ii txx n ei, ^ kd.
6 X=qr qw ^7I^iEt7tTnt=XtH I
»t=x^sl^?rar^ ctWH^Uftqr ii ^ i ii at. x k l.
^xt?c?Tixtwi wr it xtv n st. x kd
VARIETIES OF LITERATURE 17
Svabhavokti^—When a thing is described in a natural form, it becomes Sva-
bhavokti.
Yathasariikhya*—When things are stated in order, it is called Yathasamkhya.
Visesokli®—When a particular point is emphasised, it is called Visesokti,
Virodha*—When an action gives a fruit other than the natural one, it is called
Virodha.
Nmdastuti^—^\Vhen censure is made in the form of praise, it is called Ninda-
stuti. The same word is used when praise is given in the form of censure.
31^^21 ’I’ll a a si. ^ k.l.
a e a 31. ^ k.d.
a a 01. X kx.
gf^gpti q 3 [Tq?Jiin;jfrit t
weisqPifh ii a si. h k.d.
Our t/efinujon rcscmb/cs more Bhamuha
Iq^iqimqmtiii ^i a 11 31. ^ k.l.
S'Ji 3 ur?tripTi^t 3 l qn »
fqgq^qiVi HT a n ai. \ k.d.
•* iivrp; ni Of^ri qi 1
Tit fo;RinTTniPl 3 11 a 31 . ^ K L.
f-iEwnl q?RRi ?iqr 1
fqiR^uqiqq h fafiq; iJjnt ^iqi n ^ ^ ^ a si. ^ k.©,
^ StfJtTTTl^ItLq q^^^SRrq z;i i
in nni a a 3 i. \ k l.
3 iqTsn!;^»n i:nRq?nn 3 nr a ^ve n w. ^ k d.
nft PiT^ftiT Taift rqptia&inl rjiri a a „ „
Conparc .t!jo ihc CdintuoT cf €tn. »l. ^ K.O.
rrqTmftnn^qniTiiLlf^ rtnrr 1
ftmiT qi *n;rt a \t^c a 01. \ k.d.
18 VISN UDHARMOTTARA
NidarSanaip^—When the compansion is made in a matter of fact, it is called
MidarSana
Upama*—When, however, the compansion is made without any basis in reality,
it IS called. Upama
Ananvaya®—When a thing is compared with itself and nothing else, it is called
Ananvaya
The question of the number of recognised alamkaras is an important pro
blem m the history of AlamkaraSastra, so are the varying definitions of Alaffi-
karas of the same name
N S mentions only four* alamkaras—Upama Dipaka, Rupaka and
Yamaka Bhatnaba refers to an old tradition which recognises five \t: Ann
prasa Yamaka, Rupaka, Dipaka and Upama He, himself, however describes
about thirtymne Alamkaras A number of varieties of Upama is given which
later on become independent alamkaras In addition to this N S mentions
and desenbes thirty six* laksanas Most of which arc in later literature m
coTporated m the alamkaras Bbamaha and Dan^m whose pnonty to each other
IS still a matter of controversy give respectively 29 and 35 alamkaras Bhajli
in his poem uses 38 alamkaras
Thus we find that our text gives the minimum number of alamkaras, if we
regard the 36 lak^anas of N S as kinds of alamkaras While, discussing the
tt’ii ii ii ^ kl
rra:ti ii \ kd
ti ri sr k l
gqirt ftw ttT ii "iY ti at ^ ku
3 qq ^qq cn^q ^qijqirrqlq^qtrr i
st^rrrqqi^qtTi^r^afii^ng^qrqqil tl wv ti ar \ kj .
Our definition resembles more Bhamaha
Datiijifi does not mentioii Ananvaya but ue find the same substance inhisdefim
tion of Asadh^ranopamS
3n<qqqT«q5<?qft^fnqjr:^'lqqi u ii si. ^ k d
4 Adby^ya Ifi £loka 43
5 Dr V Raghavan in his work son^e concepis of the alacnkSraiastra , has ably
d scDsscd the relation of and alamlcSras in h s essay^ The history of
alamk&ra
VARIETIES OF LITERATURE
1 ^
definitions of various alamkaras given in our text, I have in the foot-note quoted
from Bhamaha and Dandin the corresponding definitions A coniparision of
these definitions with those given m our text reveals two points One is that
m the case of many alamkaras the definitions are more or less identical, some-
#
times having the same words Another point is that there are also important
variations The place given to Upama and its definition m our text deserve
consideration In almost all the works dealing with alamkaras, Upama is
generally mentioned first and has always a basic importance, but it is not so in our
text It IS not even properly defined but is only contrasted with Nidarsana The
distinction is, as we have seen, that in the case of Nidarsana the comparision is
a matter of fact one, while in the case of Upama it is not so i e imaginary.
The above considerations lead us to think that our text does not derive
Its material directly either from Bhamaha or Dandm but it has before it a tradi¬
tion, which must have distinctive features represented in our text The words
Puratanaih Samkhyatam in the case of anuprasa and Pitratanoih Kathitah m the
case of Utprek§a confirm the above view
Prahelika
Adhyaya 16 is devoted to the description of twenty-four kinds of
Prahelikas
or the Prahelikas^ some are to be made out of the Kavya Dosas while
others are independent
A general instruction is given that a Prahelika should be expressed
through either one or two Verses but not many
The following Prahelikas are mentioned —
Simutrata, Vandita or Vancita, Vikrantagopita, Musita, Parihasika,
Samanarupa, Parusa, Samkhyata, Kalpita, Namantarit'i, Nibhrta, Sam5na
Sabd i, Vylmudha, GOdhl, Ekachanna, Ubhayachanna, Sankirna,
Arthakan, Vjablucanni, Nastlrtha, Nastak§ara, Anyarthata, Arthada
and Le5a
Samatrata*—The meaning is concealed on account of a M3tra Dan^m calls
It Samahita and says that the meaning becomes obscure on account of the
Padasandhi
Vandita or Vancita*—^Thc meaning is concealed by means of s>nonymous
words ( Paryayavacana)
1 This IS similar to what Dan^m has said m his KavyJdaria lie says that there are fourteen
Du^ta PrahelikSs but as there are innumerable DosSs It is no use in descrtbms this and
therefore he describes the only good ones.
2 kilv>adaria, Adhjaja 3, Sloka 98 AB
Illustration iloka No 103
3 kavjJdarsa Adh>a>-a 3, iloKa 93 CD
Illustration IloLa No 109
18 VISNUDHARMOTTARA
Nidar^anam’—When the compansion is made in a matter of fact, it js called
Nidariana
Upama*—When, however, the compansion is made without any basis m reality,
It IS called Upama
Ananvaya®—When a thing is compared with itself and nothing else, it is called
Ananvaya
The question of the number of recognised alamkaras is an important pro¬
blem in the history of AlamkSra^astra, so are the varying definitions of Alam
karas of the same name
N S mentions only four* alamkaras—Upama, Dipaka, Rupaka and
Yamaha Bhamaha refers to an old tradition which recognises five nr Ann-
prasa, Yamaka, Rupaka, Dipaka and Upama He, himself, howexer desenbes
about thirtymne Alamkaias A number of varieties of Upama is given which
later on become independent alamkaras In addition to this N S mentions
and desenbes thirty sue® iaksanas Most of which are \n later literature in
corporaled m the alarnkaras Bhamaha and Dan^in whose pnonty to each other
IS still a matter of controversy give respectively 39 and 35 alamkaras Bhafp,
in his poem vises 38 alamkaras
Thus wc find that our text gives the minimum number of alamkaras, if "C
regard the 36 laksanas of N S as kinds of alamkaras While, discussing the
5tm ll ti m X kl.
fV%!: rTte??? WPf I
tra.ii Xvc ii ej r kd
11 X* ft 5T ^ KL.
=tT»r m ii tv it er kd
3 5t:t I
II II 3 | X KL
Our definition resemWes more BhSmaha
Dand-in docs not mention Ananvaja but vie find the some substance jcitusdefin*
lion ot As^tdh&Tano^ma
n Xx» ii h k d
4 AdbySya 16 $1ok:a 43
5 Dr V Raghavan in his work some concepts of the atamfcSraS^istrahas ably
discussed the relauon of lak^a^a and alamkiras m his essay. The history of
slaniKSra \
VARIETIES OF LITERATURE
Id
definitions of various alamkSras given m our text, I ha\ e m the foot-note quoted
from Bhamaha and Dan^m the corresponding definitions A compansion of
these definitions with those given in our text reveals two points One is that
in the case of many alamkaras the definitions are more or less identical, some¬
times having the same words Another point is that there are also important
variations The place given to Upama and its definition in our text deserve
consideration In almost all the works dealing with alamkaras, Upama is
generally mentioned first and has always a basic importance, but it is not so in our
text It IS not even properly defined but is only contrasted with Nidarsana The
distinction is, as we have seen, that m the case of NidarSana the compansion is
a matter of fact one, while in the case of Upama it is not so j e imaginary.
The above considerations lead us to think that our text does not deri\e
its material directly either from Bhamaha or Dandm but it has before it a tradi¬
tion, which must have distinctive features represented in our text The words
Purdtanaih Samkhydtam in the case of anuprasa and Purdtanaih Kathitah in the
case of Utpreksa confirm the above \iew
Frahclika
Adhyaya 16 is devoted to the descnption of twenty-four kinds of
Prahelikas
Of the Prahelikas* some are to be made out of the ICavya Do?as while
others are independent
A general instruction is given that a Prahelika should be expressed
through cither one or two Verses but not many
Tlic following Prahelikas arc mentioned —
Sumatran, Vandita or Vaiicita, Vikrantagopita, Mu$ita, Panhasika,
Sumanarupi, Parujl, Saipkliyata, Kalpita, Nam'intanta, Nibhrta, SamSna
Sabda, Vyamudhn Gudha, Ekaclnnna, Ubhajachanna, Sankirna,
Arthakari, Vyabhicanni, Najtarth'i, Nas{aksara, Anjarthata, Arthada
and Lc5a
Samltrata*—The meaning is concealed on account of a Matra Dandin calls
It Samahila and sa>s that the meaning becomes obscure on account of the
P.idusundhi
Vandita or Vancita*—The meaning is concealed by means of Sinonvmous
words (Pao3ja\acan5)
I
3
This IS simibr lo svhai Dan^Jm has Mid in his Ki\*j3darM
Du>ta PrahcliWis but os ihcrc arc innumcfabJc Do^ II
ilKrcforc he dcscnb« the onfy jood ones,
MsyaJaris* Adh>3>a 3, Slola 9SAIJ
Illustration iloVi No JOS
Adh^dva 3, ilola 9$ CD
JloVa No !09
He My-s that ihcne are fourteen
IS no use in desenbrng thu and
20 VISNUDHARMOTTAIU
Vikrflntagopita'—^Thc meaning i$ concealed by intcrmcdiarj ^'ords Dan^in
calls It Vyuikrania
Mujita*—The meaning is concealed by means of obsolete synonyms Daijdin
calls It Pramujita
Parihasik5*~Thc meaning is constructed out of the hidden meaning
docs not mention this variety but mentions as a thirteenth vari¬
ety, Panhanka which is defined as consisting of a senes of words which
give meaning to the sentence, when taken in the root sense It is difiieult
10 say whether PanhJsika and PanhJnM arc (he same
Sam5narflpa*—^The meaning ts hidden by different words having the same
meaning
According to Dan^in m Samanarupa the Prahelika is made by words
whose secondary meaning yield the sense of the words
Paru^i®—^The meaning is hidden on account of the construction of harsh syllables
SarpkhySta®—^Thc meaning is hidden on account of using the words denoting
Samkhya
Dandm explains this by saying that enumeration is the cause of con¬
cealing the meaning and illustrates it by means of a Sloka where Kanci
and PallavSs are indicated by Caturvamya and A^tavama respectively
KalpUa^—The meaning is hidden by the apparent meaning
Dane} in calls it Prakalpita
Nam5ritanta^—The meaning is hidden by misunderstanding a Samjhj (proper
name)
J Kavy3dar5a Adi/aya 3, iJoka S9AD
Illustration £loka No 110
2 K^vyadaria Ad J, Sloka 99 CD
Illustration i\okz No 111
3 KSvyadaria Adhyaya 3, sloka 104
iriustration ^(oka No 120
4 KSvySdarsa Adhyaya 3, Sloka 100 AB
Illustration Sloka No 112
5 KIvyadarfa AdhySya 3, Sloka 100
Illustration £toka No 113
fi ICSvyad-ar^ Adhyaya 3, ilo-ka lOJ
Illustration Slcka No 114 —
gn tt ‘i'iv II
7 Adhyaya 3 #I^ka JOJ
Illustration iloka No 115
8 KSvyadaria Adhyaya 3 iloka 102 AB
Jlluslration Hoka No 116 —
'tn^T 1
VARIETIES OF LITERATURE
21
Nibhrta^—^The meaning is hidden by the misunderstanding of words
SamSna sabda*—^The meaning is hidden by identical words
Vyamudha’—^The meaning becomes difficult to understand on account of the
concordance of the meaning
Dandin calls it Samudha and he illustrates it by a sloka where the
concordance of the word tathai\a misleads
GOdha*—^The meaning is hidden on account of vanous Bandhas in the Vrtta
(metre) The meaning of this is not clear from the text
Dandin does not mention this vanety.
Ekachhanna®— \—The real meaning is concealed by not mentioning one
Ubhayachhanna®/or both The wording in our text is obscure
Dandin, however, makes the meaning clear In Ekachhanna the
asnta is expressed while the a^raya is concealed In Ubhayachhanna both
are concealed
Sankirna’—is defined as Sambhavopeta The meaning is concealed on account
of many possibilities but if we interpret the word Sambha\a as the meaning
Samkala, it agrees with the definition given by Dandin
Arlhakari—^Thc meaning leads to a different meaning The sense seems to be
that the obvious meaning is supposed to lead some other meaning and
thereby conceals the intended purport
Vyabhicanni—When same effect is achieved through a word
Na§fittha—The meaning in our text is not quite dear m its wording The
meaning seems to be that the meaning becomes clear by putting the missing
Matra in the metre
Nastaksara—The meaning is concealed for want of one Akjara
An>'irthafi—The meaning becomes different because a Varna is missing
1 Adh>a>*a 3, iloka 102 CD
llIiKtraiton iloka No 117
2 Kivyidaria Adhy2>a 3* iloka 103 AB lllimralion £loti No 118
3 K3v>3dariT Adh>3>^ 3, iJoka 103 CD
lllintratioa iloka No 119 —
i
4 RCJran Kfm to rral^elikjs but it ts not clear whether it n ibe lam- as cur icxl
mtfiijom
5 K3\>jdarta Adh)2>a 3 Itoka IWCD
llliwtration ilAa No 121
6 Kinidaria Adh>2ya 3 <loka IO<An
llTuitratK'^ iloka No |22^
7 3 JloVa No 105 CO
ra\-ra*icn CcU Ni> |2J
22
VISNUDIiAKMOTTARA
Arthada—^The meaning becomes clear by interpretation according to different
tenses
(The text however, is not clear to me )
Leia—Only the seed of the meaning is suggested
Our text emphatically enjoins that in the above Prahelikas no obscene
meaning should ever be suggested This injuction seems to be significant
as suggesting that sometimes obscene meanings were suggested through
Prahelikas
In some vernacular nddles poems and songs one meets with such
Prahelikas which must have their prototypes in earlier folk literature
It may be interesting to note that the Prerana^ variety ofGeyapre
ksakavya full of humour consists of Prahehka This may be compared
to some of the Sannadas sung at popular fairs by men and women which
arc full of humour and erotic suggestions
We ha%e seen that out of the 24 Prahehkas fifteen are practically the same
as are described by Dan^in m his kavyadarsa This might lead us to draw the
conclusion that our text has taken its matenal from Dan^ms kav>adaria
But the few variations in the definitions and the additional Prahelikas goaeainst
this View It may be that there might be a common source from which both
have taken their matenal to suit their purpose
It js rather strance that our text should devote a whole adhyaya to the Pra
lielikas when it cursorily deals with more important topics This suggests that
at the times when our text might have been composed Prahelikas must ha\e been
regarded so important as to deserve a special adh^aya It would be therefore
interesting to consider the place of Prahehka tn our literary culture
AmarakoSa* mentions Pravabhka and Prahehka together So does Hema
candra m Abhidhana Ciniamani * Hcmacandra explains Pravalilika as Pro
Inolaie PracIIan}ant bfojate and Prahehka as FraMayati abfuprajan sncajeti
and gives two varieties Sabdi and Arthi
Prahelika or Pravahhka seems to be a literary dn crsion of the learned people
from very ancient limes Wc find Pravahhka mentioned m the Brahnianas of
the Rgveda such as Aitareya Kausilaki etc The reference is about certain laconic
verses of the Atharvaveda Thus Pravahhka* js used m the sense of a riddle
jn these works
Kav>5nu<asana Adi >aya S suira 4 page 446 c<f led by R C. Pankh
2 Kanda J Varga 6 iloVa 6
3 Karuja 2 SloU 173
4 Ved c Index \ol 2 page 40
VARIETIES OF LITERATURE
23
Another type of nddle namely theological is also referred to under the
name of Brahmodya* m the Brahmanas
The attraction of this type of literary activity seems to have been consider¬
able and we find it mentioned as one of the 64 kalas in the Kamasutra® of Vatsya-
yana and is referred to by Jayamangala m his commentary on it as Lokapratita
means well known in society He gives two varieties of it lie Krldartha and
Vadartha i e one for diversion and the other for discussion
Our earliest works on poetics mention Prahelika Bhamaha® describes
Prahelika as employing Yamaka and as having recondite meaning on account
of the vanety of root meanings He further adds that such a literary type can
only be understood like the sastras only with the help of commentanes and that
It IS a source of pleasure to the sharp-witted but humiliation to the dullards
We have already seen at what great length Dandm discusses his sixteen
vaneties of Prahehkas
Later wnters on poetics, however, do not give it much importance
Mammata for example does not mention it In Adhyaya 9 Kanka 85 ( p 529
edited by Zajakikar) he discusses citrakavyas introducing this subject m its
vrtti, he says Kaftam Kdvyametadtti Dmmdtram Pradarsyante, and then gives
examples of Khadgabandha murajabandha etc but does not mention Prahelika
He says (p 534), at the end Sambhaund’pyanye prabhedah Sakumdtrapra-
kdsakdh na tu Kdvyarupatdm dadhatiti na pradarsyante Only Somesvara*,
one of his earliest commentators in his Samketa refers to Prahelika while com¬
menting on the word anye prabhedah Hemacandra® refers to it as a
Specimen of Ka^takavya and regards it merely as a thing of play ( Kru^a) but
of no poetic value Bhoja in his Sarasvatikanthabharana® describes six \arieties
of It Rudrafa in his Kavyalamkara’ also bneBy discusses it While Visuanatha
in his Sahityadarpana* emphatically says that as Prahelika is unfa\ourabIc to
Rasa, It IS not included in Alarakaras It is only a mode of expression ( Uktt
Vaicitryamdtram) He refers to three such \’aneties, uz Cyutakiara, Dat-
laksara, and Cyutadattakjara
1 N'cdic Index Vol 2, page 80
2 Adhikarapa 1, Adh>3ya 3, Sfltra 16, page 32, C S Senes
3 Bhimaha AlaitikSra AdhySya 2, iloka 9 10, page 10 C. S S
4 Sec KdvyaprakSiasaipkcta (p 251) edited by Prof R C Pankh
5 KSvyanuiUsana Adhy3}'a 5, sOtra 4, page 323, edited by R< C. Pankb
6 Adhyaj-a 2 , page 299 N. Sagans edition.
7 Adhj-3}-a 5, Sloka 24
8 Adh>3j-a 10, iloka 13.
24
VtSNVD[(ARi10TTARA
Thus wc find that PrahcUkS was an important item of literary diversion
in ancient times but later on with the growth of poetic understanding it was
relegated to a low position
Mahakav) alaksnnacn
Varieties of ittcrafure are described Jn the introductory vcr$es of Adbyaya
15 and |7 In adhyaya 17 Vajra by way of preface to his question describes
Mantra, Brahmana and Purana Mantras re Vedcc Mantras are lo be taken
Hith Brjhmanas because a Brahmana is supposed lo give the meaning of the
Mantras This is in confirmity with the traditional meaning of the word Veda
v/e Manfrabra/imanajonedanamad/reycfj (Apastambha 31) The Kalpa means
Kalpa je a VedaAga prescnbing in ntuaJ sacnfice These three namely Man
Brahmana and Kalpa are supposed lo be arfa, x e work ofR^is^ then comes Parana
It has four feet ( Caiu^pSda ) Its first fool is Prakriya, the second Kathavastu-
pangraha* the third Upodghntaand Anusanga and the fourth Samhara or Upa-
samhara Parana js said to possess five characteristics, that is, it treats five
topics vir sarga, Pratisarga, Vamsa, Manvanlara and Varpianucarita But what
IS interesting to note is that m addition to the above a Parana contains all knowl-
edgc\ especially, science of music, dance, Nafaka and Akhyana
Adhyaya 15 distinguishes KSvya from Sastra and Itih^sa ^astra is
defined as preaching the principal purposes of life i/j Dharma Arfha, Kama and
Mok^a While Itihasa is that which narrates the actions of the good persons
of the former ages accomplishing Dharma, Kfima and Artha and with sugges
tion about Mok$a
This adhjaya further describes Kavya and MahakSvya kSvya is distin¬
guished from luhasa, by the absence of the didactic elcmerl (Upadesa Vma
kflam) Ji is further characterized as nanatnc of deeds of one person
MahakSvya contains the narration of two characters Nayaka Iiero and
Pralmayaka opponent Jt also desenbes the march of armies sending off-viar
messengers, ifgfinng antf tflif mVumrrtr viciVny isf item iViyy^j" / TAe oViVer
items described are regions, city, kings, seasons, mountains, rivers and woni^n
The hero and his opponents are to be properly described The hero follows the
virtuous path, and his victory is based upon db^rma ( Dharmavijayi) in contrast
with the Pratinlyaka, who is a Lokavijayi or if wc take the reading Lobhavijayl
as one getting his success through greed The destruction of the opponent can
be desenbed but not that oF the hero However, the hero can be described as
going to heaven with his own body
1 Tbii dctcnption seems to signify that VisnudharmoUara ts really a PurSna. v^hich m addi
lion to possess the four p5das and paitea lak^a^as, devotes considerable space to the discus
Sion of Giu, Krtja Hatya etc.
VARIETIES OF LITERATURE
25
Without metres, the mahakavya would be in prose ( Gadya ) The follow¬
ing defects ( ChTs ) should be avoided —Usages contrary to grammar, words
whose syllabus,are difficult to pronounce, sentences suggestive of obscenity as
well as sentences whose meaning is difficult to guess and which contain uncommon
words It should also be free from pwroni^/i-repetitions Repetition, however
is allowed in such emotions as wonder, jealousy, fear, sorrow, hurry, joy and
where repetitions are desired The use of the word Pumr in an utterance of a
messenger, in an utterance in a dream and in an utterance to a person who has
come for some work is also’ not to be regarded as Punarukta fault
The speeches in a Mahakavja should be positive in statement and free from
doubts, contradictions and what is forbidden m the society
It should exhibit the nine rasas—Srngara, Hasya, Karuna Vira, Raudra,
Bhayanaka, Bibhatsa, Adbhuta and Santa and proficiency in art as well as proper
ideas about Dharma and Artha
The above description of Mahakavya may be compared with those given
in Bhamaha’s Alamkara, Dandin’s kavyadarsa and Agmpurana As far as the
Items of the descriptions are concerned, there is practically no difference There
is, however, one point of difference to be noted All tlie works on Poetics agree
that the death of a hero should not be mentioned in a poem Our text, however,
says that the hero can be described as going to the heaven with his own body
Another point to be noted is that a Gadya vanety is simply cliaractcnsed by the
absence of metres Its types, katha and Akhj'ayika are not mentioned The
most important point, however, is the relation shown between Kavya and Maha¬
kavya This to my knowledge is not shown m anywhere else Its importance
lies in the fact that it shows an earlier stage in the development of mahakavya
form
It may be further remarked that our text only incidentally mentions a few
Dosas, while it makes no reference to Gunas Thus out of the various topics
of Sanskrit Poetics, the author of our text regards alamkaras, prahelikas, kavya
and mahakavya to be important and worth noting
If any inference is permissible from the abo\c divergences, one may sny
that our text represents a tradition of poetics older than those embodied in Dh'i-
maha*s Ahmkara, Dan^in’s Kavyadarsa and Agmpurana
Diadassnipa
Adhjlya 17 is called D\ jdasarupa It treats of 12 Rupakas and true to its
name, it discusses the twcKc RQpas or ROpakas It ma>, howescr, be noted
that the word Rupa is not used in our text in sense of a dramatic form nor do we
find any iloka enumcnting all the forms together as is pcncnlly the pnctiec.
t t hasc susRCitcd St initead of *1 bcciusc the conlcxl rwjuim w
Y A
26
VISNUDHARMOmRA
^lokas 7 to 28 descnbe these twelve forms They are Na(aka, NaJikS,
Prakarana, PrakaranI, Utsisfakanka, Bhana, SamavakSra, Th3mrga, Vyayoga,
VithT, Dima and Prahasana
Of these twelve the N S ( Adhyaya 18 iloka 27 N Sagara) recognises only
ten of these above mentioned varieties, omitting and PrakaranI N S
however, in ilokas li! and 112 desenbes Nafika but says that it is to be included
in Na{aka and PrakaranI in Prakarana and therefore only ten Rupas arc recognised'
The question of the number of recognised RQpakas is of some imporatrice
in the history of Sanskrit dramatic traditions Bharata* recognises only ten
While according to Hemachandra Kohala recognises many more
There arc also twelve Gcya Preksas such as Dombika, Bhana, Prasth5na,
^ingaka, Bhamka, Prerana, Ramaknda, Malhsaka, Rasaka, Gosihi, ^rigadi,
Raga, Kavya etc
Mataka^—^Thc plot of a Nataka is derived from Itihasa, Purana or from the deeds
of gods It might depict the deeds of a Nayaka alone or of a Nayaka and
Pratinayaka—his rival This is similar to the distinction made between
Kavya and Mahakavya in the preceding Adhyaya
I have not been able to find this distinction in Najyasastra, Da^arupaka
or Natyadarpana
All the YfUis and all the Rasas find their place in Najaka proper Its
acts vary from 5 to 10 One act is to represent the activity of one day only
( Ekadanasikom Vfttam ) This may be compared with a Greek tragedy
m which only the incidents of a day are represented At the end of each
act all the actors retire The incidents not to be shown in an Ahka that is
m an act are death, dethronement, scige of a city and fight They should be
narrated in a Pravciaka A PraveSaka should alwajs have two characters
and these two characters should be of the servant-class (P<7ryc7/;e)but, not the
J II m II
apt 3 11 iTt II *11. ^ 3! <16
See—^Types of Sanstiit Drama—Chapter 3 pages 39 to 44 for Number of species—D R.
Mankad
2 It IS not dear however to whom Ihtf fraditson of twelve RQpakIs belong and which arc iKe
two additional Ropak&s Heinacandra htmscif recognises twelve Two addiijonal being
Sattaka His pupils RSmacandra and Gunacandra m iheir NStyadarpa^ia
recognise the twlcvc vanctics exactly as our text docs
3 N S Adh>5ya 18, Sloka 11
Compare also Bhagavadajjukoa Page 3 and Kav>anuS5sana of Hemachondra AdhyJya S,
pas« 431 and 44 S VO 449 fediwd by Stt R C Patikh>
VARIHTIES OF LITERATURE 27
leading characters (Nayaka lit hero), when two characters are different
(not servants'^), it is called Viskambhaka ^
The stage should be made empty (Ranga^unyata) only at the end
of Pravesaka and Viskambhaka and not on any other occasion
The Pravesaka can narrate or exhibit the activity of many days but
the narration should be bnef and not lengthy The killing of the renowned
Nayaka should not be brought into Pravesaka but it may be suggested m
the act by some device The nse of the hero along with many Nayikas should
be shown at the end of the Nataka
The remark about the indirect suggestion of the killing of the hero m
the Anka itself is unusual According to Bharata, it may be suggested
in a Pravesaka but not in the act
Natika—Napka is like a Nataka with this difference that it consists of four acts
and its Rasa is predominently Sfngara
Prakarana*—is also like a Nataka with the difference that its plot is not derived
from any other source but created by the poet himself Its heroes are
either Brahmanas or merchants
Prakarani—is like prakarana with the difference that it consists of four acts
Utsrstakankah®—Its plot is either derived from Itihasa or is imaginary Its
Vjtti* is Bharati and Rasa is Karuna and the hero must not be a god
Bh'ma^—Its plot is derived from Itihasa and it represents the activity of one day.
It consists of one act and it is full of fights ( Yuddha )
The whole action is done by one actor by means of talking through the
device of ( speeches in the air) AkaSakathana
In the above description the attnbute Yitddhabahuia^ is unusual
1 The word Dhmnam in our icvt docs not clearly, indicate the dilTerence between the p-pes of
characters of Pravciaka and those of a VijKarhbhaka According to N S Madhyama that
IS middle tjpc of chancters have to be used to \i5kambh3ka while Nica and Madhj-ama
that IS tow and middle for samklrpa Yitkaihbaka (Sec N S Ad 20, iloki 37 to 39 Ad 21
iloVa 110-114 CSS)
2 N S Adh>3ja 18. iloka 95
3 N S Adh)i>a 18 sloka 145
4 VSTiat the words Sa77Utnantarartt mean m ihu context u not clear The reading
in N S is Si^Ttio}vddhoddhatapmhSraic<3 ObMOusly the reading in our text is corrupt
5 N S Adhj^ja iloka 159
6 The dermiUon of BhSoa from DaiaiOpa and Mp-adatpana may tc compared
28
YISNUDflARilOTTARA
Simavakara'—^The heroes m this variety are twelve in number They may be
gods or demons It has three Sfngaras and three Kapafas
Three ^rngiras arc explained by Bharata*—^mgara m Dharma, Artha
and Kama and three Kapa^as are explained as due to fate, enemy and happi
ness or misery
Ihamrga^—consists of many acts II has a Gandharva as a hero Its pre
dominent Rasa is ^pigara In this vanety the rasa arises by vanous causes
of dissatisfaction which are not descnbed m our text but according to Bharata
it may be the forcible abduction of a woman
Yyayoga*—It represents the activity of a day It has* one hero and its Rasa is
Dfpta or better Dipta according to N S i r Vira, Raudra etc j e without
Sfngara and Hasya
Yithi®—has 13 items but no hero
Dima®—^Its Rasa is as above ( i e Dipta Rasas ) but specially Raudra Rasa Its
hero IS a god and its subject matter is something well known
Prahasana*'—Hero is Udltta It represents courtezans and Vitas
Thus comparing the above description of tlie 12 forms of drama with
the ten of N S* we find that the> generally agree Though descrtplLoti
in our text is a sort of summarized version even then there arc some import¬
ant differences in details which I have noted before
INS Adh>aya 18 114
N Sagara edmon
— ^5I»=‘'TTS3; ( S)Tm )
N S iSEoka 129 AJhyaya IS
4 N S Sloka 141 Adhyayn IS
5 N S Adhy-iya 18 Sloka 163
* I
!TV inal 37r:jfT^ II II
s«fr5id "noysj !T^t;?TrjTr'3^f?n i •JS'^ it ^r. 5 Ti sr v
N Sag^r cd non
7 N S Adhyiya 18 iloka 133
8 N S Adhyiya 18 iloka 153
VARIETIES OF LITERATURE
29
Sandhis^
Mukha—the sowing of the seed (bijasamutpatti) capable of giving the variety
of rasas
Pratimukha—Sprouting of the seed sown m the Mukha
Garbha—the possibility of getting the results as well as its opposite
Vimarsa—^When the purpose of the bija opens up and yet is accompanied with
difhculties and adversities, it becomes vimarsa
Nirvahana—Carrying to the completion of things started in Mukha etc
All the above mentioned five Sandhis should be observed in Nataka
and Prakarana Vimarsa is to be omitted in Dima and Samavakara
Garbha is to be omitted in Vyayoga and Ihamrga and Pratimukha to be
omitted in Utsrjtakahka, Prahasana, Yithi and Bhanaka
Hero C Nayaka ) should never give up his generosity, good behaviour,
and valour and he should ultimately be victonous over his rival
Nayikas*—eight Nayikas
Vasasajja—one who remains in one’s won apartment on account of one’s own
fault
Virahotkanthita—one whose lover has not come
Svadhinabhartrka—one who bosses over her husband
Kalahantanfi—one who is separated from the lover on account of quarrel
Khanijita—one whose lover comes in the early morning with the signs of nails
etc ( of other women)
Vipralabdha—one whose lover has not kept the appointment
Prositabhartyka—one whose lover has gone on traiel
Though eight Nayikas are indicated m §loka 8, only scien are described
Abhisanka is not mentioned
All the twche varieties of the drama should cthibit the graces of these
different tjpes of NlyikSs
Rasas
Verse 61 says that Singlra, Has>a, Karuna, \lra, Raudra, BhaySnaka,
Bibhatsa, Adbhuta and Slnia arc nine n3i>arasas This should be compared
with the following verse of N S —
tM< n Adh)a)a 6
1 Compare N S Ad 19, ilola 37 (N Sapr edition)
: N S Ad 20h ( N Sapr edition )
30
VISNUDIURMOTTARA
At the end of AdhySya 6 ( N S ) in verse' 84 it is again said that thus the
abo'vc eight Rasas arc defined But some Mss of the N S describe Santa rasa
also and say —
The composition in all these twelve varieties should keep Rasa in view
because the pnncipal thing jn Nafya js Rasa
fk. 3T i\\
Abhmaxagupta while commenting on this portion says
N S Vol I, Page 333. G O S
This dearly indicates that there were two traditions about the number of
Rasas Our text follows the tradition of the nine Rasas and of twelve Rupakas
It IS diiTicull to say what was the original tradition of Bharata Bat if we accept
the theory that Bharata recognises only eight Rasas and ten Rupakas and that
the ninth Rasa and other ROpnkas were added later on, we may say that our text
represents that later tradition It would be. however, safer to say that our text
represents a different tradition and not to gi\e any opinion about the pnonty of
the one o%er the other
In the description of 12 types of drama given above, we find that most of
It agrees with what is given m the Nitya^Sstra The question of tlie number of
rasas, however require sorne consideration Our text, as we saw, gives nine rasas
The rest of the adhy5ya is devoted to the many incidental items connected
with the production of a play
The drama starts with the speech of the Sutradhara who sugecsls the wliole
plot, which gradually becomes minifest
Speech The hero speaks Sanskrit So do the Sanyasis, Srotriyas,
Dvijatis { Brahmanas, K$atriyas and Vaisyas) gods, demons, Gandharvas
and Nagas The N5yikl speaks Praknta So do heavenly damsels,
Sanylsinis, Pretenders and Vidu?akas
Apabhrasta is spoken by children, women, low people, eunuchs and those
not mentioned already
The endings of llie proper names—
The names of Brahmins should end m Sarman, of K^atriyas in Varman and
of Vaiijas m Dhana Some names end in D^sa also The names of kings and
their ministers should end m Vikrama
The names of women should be such as can be easily uttered, not harsh,
and of NayikSs sweet
1
VARIETIES OF LITERATURE
31
The rames of the attendants of queens should mention Kala and Kausala
and those of the kings ending with Vyaya The names of the astrologers should
be charactenzed by Mangalya and of Purohitas by Santi
The names of ministers generally end tn ^ura while those of physicians m
Ayusya The names of Vitas end in Bhusana and of Dasas m Kansum or their
names may be the names of the ornaments or flowers The Kancuki and the
Vidusaka must bear the names of their Risi or Gotra respectively The names
of courtesans should end in Datta, Mitra or Sena and the names of the office¬
bearers should be according to their office
Forms of address—
The king is addressed by a Servant and subjects as Deva, by Brahmins as
Rajan and by Risis as if he were their child Those who are equal in rank call
him Vayasya Vidusaka is addressed as Vayasya by the heroes The one who
sits in the chariot may be called by the charioteer Ayusman
Risis, teachers and gods are addressed as Bhagavan The student is to be
addressed either as Putra, Vatsa or by his family name (Namagotratah )
The husband is addressed by his wife as Aryaputra and a wife by her name
but a queen is addressed as Devi Father is addressed as Tata while the
mother’s father as Aryaka Yuvaraja is addressed as Kumara while a respect¬
able person is addressed as Bhlva
A woman of equal rank is addressed as Hal5 A woman addresses her
maid servant as Hanja or Handa The sister should be called Svasa while a
Sanyasim should be addressed as Vratini
A brahmin lady should be addressed as Arya and the rest according to the
gender
Var$avara is a person uho mo\es in the female apartments and is incap¬
able of enjoying a woman The head of the Varjavaras is called Kancukin
He IS generally a Brahmin and respected by the queen
Vidu$aka is a Brahmin and a keeper of the secrets of the hero
SulradhJra is the principal actor or Nata
A dramitist should be at pains to make the whole composition of a drama
perccnc Rasas because Rasa is a soul of N5tia —rosapradhana me^ailat sana-
nd[}ar]i —All these twchc \anelics should exhibit Aa/uiausa/o proficiency of
arts. Social customs and manners— hKa^dhana, should teach dharma, artha
nnd KSma and should be for the good of the people
in
MUSIC
Two a(lhyA>as t8 and 19 arc dcvofcd lo Music Tlie I8lh js called Gila-
lak^afin and Ihc I9th Atodyavjdhili i e ihe former deals v^ilh \ocaI and ihe lallcr
mstrumeninl jnusjc Rolh of these are tn SOira style and moslJy m prose At
tljc end of the eighteenth six scrscs arc inlroducccl by Ihc words bfiownti eSua
ilok&h^ similarly ai ihc end of the nintccnlh* three \crscs
The subjccl-maitcr discussed here finds a parallel in the works of Dharata
and Dattila^ though here and therc^ there arc some important \ariaUons also
In Bharaia >151ya52lstra insirumcnial music—Alodja is treated first and \ocal
music—GUa followss li Vi^pudharmotlara, liowc\cr, discusses vocal music
first and then the instrumental
Vocal Afustc
In the GUa section the following topics arc touched The three sfhSnas—
organs of utterance, the three Gramas-scalcs, the sc%cn S^aras-notes, the twenty-
one MOrchhanas intonation and the forty-nine Tanas—key notes, three Vrtlis,
nine rasas, ten Jatis, four Alamkiiras, diffcrcnl types of musical compositions,
practice of singing ( 5ty) and finally the religious ment of knowing the art of
music Glia is regarded as four-fold on account of Svara, Pada, Laya and
Avadh^na Different notes arc to be used for different rasas
The Atedya section de-senbes the four types of instruments three V|ihs,
difTcrcnt types of Layas and Talas and how they arc connected with difiTejicnt
rasas and finally the sitting arrangement of singers and instrument players on the
stage
The discussion in both the adhy^yas is very sketchy
Vjjnudhannoltar't differs from Bharata in the number of Gramas Bharnta
gives 5adja and Madhyama Datlila^ also gives two but mentions the third
namely Gandhlra adding that it is not found in this world Sangita Ratnakara.
which IS comparatively a very laic work, also mentions ^adja and madhyama as
current but desenbes in detail the GandhSra grama This indicates that this
G3.ndhira grama, which might have existed m ancient times and therefore pre
served in tradition, must not have been current m the lime of Dattiia and Bharata
Yijnudh'irmottara, however, preserves the old tradition
1 ?r ( 5 ) II 1 ^ II Page 2 TSS
MUSIC
33
Three sthanas—organs of utterance are Urah—chest, Kanthab—throat and
Sirah-head They give rise to three tones Mandra—low or base.Madhya-middle
and Tara-high Seven notes are sadja, madhyama, gandhara, Rsabha, Pancam,
Dhaivata and Nisada The twenty-one Murchanas dependent upon three gramas
are as under—Sauvirl, Harin^sva, Kalopanata, Suddhamadhyama, inargT,
Pauravl, R(Hr)syaka, [ Uttaramandra, RajanI], Uttarayata, iSuddhasadja,
Matsarlkrta, Asvakranta, Udgata, [ AlapU ], Kuntima, Suddha, TJttara, Sadja,
Pahcayata and Udgat3
We may note here that Bharata gives only 14 Murchanas because he
accepts only two Gramas Forty-nine Tanas also dependent upon three Gramas
according to Visnudharmottara are mentioned as follows —
''3151^1?^:, ti^
i ’’gq'ft-,
'g^^ra?!: , ’'siHcgntw, '‘^tiKraq:,
t
q^^^inivnTttmiTR^Tr* i
Bharata only gives 35 Tanas-21 of Sadjagrama and 14 of Madhyama grama
omitting the Gandharagrama, while S R gives 49 Tanas divided into two gramas
—clearly showing that it had no knowledge of Tanas of Gandharagramas
The four items to be noted in the practice of singing are Svara-note, Pada-
note, Laya-note and Avadhana—note Three types of Svaras are Vadi, Sam\adt
and Anu\adi Vrttis are gi\en as three but they are not mentioned bv name in
this Adhyaya They are, however, mentioned in the 19th Adhyaya as follows —
Citra, Vrtti and Daksnina
The relation of the musical notes with Rasas are as follovss —
nvqiT and in and and wr in Itct and , ftqrr and
ntw in m and , and I^•^UT in ^tptut
Ten Lak^anas of the JAti arc giscn
rqi^(HT)’RiIIlT trq ^ I
^ ^ rtm U
I
Four Alamkaras are mentioned—
it*OT=i and JTOnr«T Then different types of musical com¬
positions such as arnFin:, a^ltq jn^Tmrfr, “km, qtf^, and
arc mentioned by name
V 5
34
VISNUDI tAR^roTTAR A
It IS SEtid in the last verse that master of music, if he docs not reach the
sumum bonum would become a servant of a god and would enjoy bliss in his
company
JnsirUmental Music
In the 19lh Adhyaya four types of musical instruments are mentioned
according to tradition They are Tata, Su^ira, Ghana and Avanaddha i e
stringed instrument, wind instrument, mctalic instrument, stretched instrument
(eg Drum) respectively
The musical notes are the same as in the Vocal music The difference is
indicated by saying that in singing the notes rise from below while in stnnged
instruments or in wind instruments, the order is reversed Then the Talas,
Mdtris and Vfttis are described Three Layas namely Druta, Madhyama and
Vilambita arc mentioned It is said that Tala must have Laya The Prakarana‘
is said to be two fold, Kulaka and Chedyaka The different syllables to be ex¬
pressed on the drums arc descnbcd
It may be noted that even here Rasas find their place as follows —the Addita
in SrngSra and Hasya, Vitasta in Vira, Raudra and Adbhuta, Alipta in Karuna
and Santa, Gomukhi in Bibhatsa and Bhayanaka
It is said that the Dardura ( flute ) and Papava ( small drum ) must follow
the Midanga
The arrangement for sitting of the musicians is as follows ^The Musicians
have to sit just near the door of the dressing room and m such a way that they
■would be properly visible The Mugas would be behind them and so also
Marjanika On its left side dardura and panava should be placed Prom
the right the singer should sit facing to the north, to his left gainka’ and to (he
right the players of flute The female singers should be seated facing the mam
singer
1 As the word PraVarapa « not explained it is & Ricult to say what it means in this connection
of jostrumenial music. Its ordinary meaning is a chapter and here it may tneati a series of
sort
2 Cainka—this word m ghi mean the reciter
NRTTASUTRA
This section may be called Nfttasutra in accordance with the colophon of
the 34th adhyaya
According to the ancient tradition Gita (Vocal music), Atodya (instru¬
mental music ) and Nrtta (including Nrtya ) together constitute samgita ^ This
tradition is at least as old as the KauSitaki Brahmana ( xxix 5 ) where it is called
5ilpa ( Vedic Index p 381 ) So after dealing the first two constituents of Samgita
we come to the third constituent Nrtya ®
This Nrttasutra consists of 15 adhyayas i e from Adhyaya 20 to 34
Adhyaya 20 is Saraanyadhyayah which consists of 62 ^lokas which deals
with many miscellaneous things in the first twenty Slokas, while the Slokas from
1 As Dr Mano Mohan Ghosh says —
'''inx}^zVismidharmottara (Ed Venkateivara Press Bombay 1912, Part 111, Ch 2 ^lo 4)
It has been said that the canons of painting are difhcuU to be understood without an acquait
nnce with the canons of dancing This remark is not intelligible to one who is not aware of
the fact that dancing includes abhtnaya, and was to a great extent responsible for its origin,
although in later limes il came to be assoaated more or less exclusively with the performance
of nafya^ An acquaintance with abhmaya^ in fact, gives the student of painting a more or
less definite idea about the postures of men according to changes ( physical mental and spin
tual) to which they are subjected by the different obj'^ts surrounding them The value of
a treatise on abhway'a lies in the fact that it presents to us a more or less s>5tematic and
elaborate study of the possible artistic gestures which, when reproduced on the stage
by fiafas may evoke rasa in the spectators Any one who has some idea about the technique
of painting will understand how the descriptions of varying gestures by head hands, cj'cs,
lips and feet etc would help a student of painting to acquire skill m depicting the human
form in its endless variety of poses In fact the canons of painting such as arc given in the
VifnudJmrmottara and the Abhilayttarthacintamamy giv'c nothing but the anatomy of the
human fonn considered in its motionless condition while the canons of dancing (which
includes abhnaya^y consider the human form in its rhythmic movement for the purpose of
evoking some ram, and can thus verify the knowledge of that anatomy by rev'eahng us artistic
possibilities ’
Abhinaya-darpanam—pp xxx Ttxxi—edited by Manomohan Ghosh, Calcutta, 1934
2 According to Sidney Cohan (Encj'clopacdia Bntanica, Dcvcnlh Edition, Vo! JO), the art
of dancing is a space time art which occupies an intermediary place between the lime arts,
poetry and music (which arc also called speaking arts) on one side and space arts painting,
sculpture and architecture (which are called shaping space arts) on the other In this
connection it will be interesting to note that the author of this part of Vijpudharmoiiara
follow-s the same order by putting Nrtya between KSvya, Gita and Atod>‘a on one side and
Citra, Pratimi and PrSsdda on the other
36
VISNUDHARMOTTARA
21 to 35 are devoted to what might be called the poses and movements of the
dance Slokas 55 to 57 arc devoted to four Vftlis Slokas 5& and 59 refer to the
four Pravrttis The two types of Dharmidharmas and the two types of Siddhis
are mentioned m Slotas 60 and 61 The last filoka describes the N|1ta, which
IS praised
In Adhyaya 21 six Sayyaslhanani arc described Types of Asanas arc
discussed m Adhyaya 22 After discussing these asanas, the postures and various
movements of the body depending pnncipally on feet of men and women, arc
given in Adhyaya 23
Thirteen movements of head (sira), seven movements of Neck (Grha);
five movements of mouth (asya), five movements of chest (LJrah), five
movements of sides ( Par§\a )»three movements of stomach ( Udara ), five move¬
ments of waist ( Kati). five movements of thighs ( Uru), five movements of calf
( JangM ) and five movements of feet are given Thus this adhyaya 24 describes
the angikabhmayas or angakarmas
Adhyaya 25 treats the thirty-six Rasadpsiis {emotional expressions of the
eye ), nine movements of eye hds { Piitayoh karma ), five movements of eye pupils
(Taraka karma), six movements of the sight (Drsti karma), five movements
of eye brows ( Bhrukut* karma ) six. movements of the nose, then the movements
of cheek ( Ganda ), teeth ( Danta ) and lowerdip ( adhara ) In this way all the
Upanga karmas ire discussed in this adhyaja
In Adhyaya 26 sixty four handposes are given Hand poses are classified
as single, combined and Nrtlahand poses
Significance of different colours with reference to these poses is given m ^fokas
42 ^ 43 Occasions are shown when the acting should not be done At the end,
3 t IS made clear that hand poses should be acted according to the place, time,
production and meaning Tliere must be beauty in the dance—hands ( Nnia-
hastas )
Adhyaya 27 describes the Ahuryabhinaya tc the make up of the actors
Costume IS a very essential feature of dance So care should be taken in describ¬
ing the costumes for every character taking purl in the performance The move¬
ments of the body should be performed as if showing some Jifc in it (S^JJlva)
Five primary colours arc mentioned m Sloka 8 Slokas 3, 4, 8 occur again m
Citrasfltrn portion also, and the different varieties of these five primary colours
begin from ^lokas 10 to 26
SSTnSnySbhinaja is treated in Adhjaya 28 In this adhyaya, the acting
for various bhavas including slhayibliSvas occurring m different rasas arc describ¬
ed The acting to show different seasons is given
GatipracSra of men and women arc distinctly classified m Adhyaya 29 and
Gall according to different rasas are shown Gati representing different animals
like horse, goat etc for the actors arc shown
NRTTASUTRA
37
In Adhyayas 30 and 31 different rasas and bhavas with their appropriate
colours and deities attached to different rasas are mentioned
Adhyaya 32 is Rahasyamudra and Adhyaya 33 is called NrttaSastramudia
These two adhyayas give much new information These mudras can be classified
m two ways—mudras attributed to deities and mudras used by devotees in order
to worship the deities
The last adhyaya 34 is called Nrttasutra In this adhyaya the mythical
origin of the Nrtta is shown Dancing v\as used to please the gods in temples
Natya has been defined in the Nrttasutra as Parasyanukrtih i e imitation
of something other than oneself and Nrtta has been described as that which beaut¬
ifies Natya
In the Nalyasastra of Bharata in the first adhyaya mainly and several times
later on, the word anukrti is used to describe natya So also m the same work,
a question is raised as to the relation between Abhinaya and Nrtta and the answer
IS given that Nrtta is not imitation like Abhinaya, but has its place as a beautifying
art because it lends charm ^
Nrtta has been divided into two types—Natya and Lasya Here I have
substituted the word, Tandya taken from the Natyasastra of Bharata for the word
nltya, regarding n’ltja as a scribe's error
Tandya (according to the text Natya) and I asya have been further
divided into abhyantara and bahya Abhyantara is one which follows precise
rules {laV§anavat) while Bahya is one which is not regulated by any precise rules
(laksimvarjitam ) This distinction of abhyantara and bahya is the same as
the distinction of Margya and Desya known to later tradition
The abhyantara Nrtta is regarded as auspicious
Lasya cm be performed either under a pavilion { Man^ape) or outside,
while Tandyo (Najya according to the text) should be performed under a pavilion
nsl q: tr tTi’»? 5 r 5^ 1
II <1
ftft t
^ 11 11
R; 5 sntRfrq. 1
it 11 {«. v)
38
VISNUDHARMOTTARA
Pavilion IS of two types Ayata(oblong)jindCatvra5ra (square) The mea¬
surement of the Square pavilion is thirty-two hastas, while that of the ayata is
double of this The pavilion should not be smaller or larger than this because if
It IS smaller, there will be congestion ( Sammarda ) and if it is larger^ there will
not be proper imnifcstation (Vyakti)
This may be compared with the three types of Natya VeSmas described m
adhyaya 2 of Nafya^dstra Here it is noted that the NatyaveSmans arc of three
types, viz Vikrsta (oblong), Caturasra (square) and Tryasra (triangular)
The oblong type measures 64 x 32 hand lengths It was considered the most
suitable one for all practical purposes
The mythical origin of danemg^ is described as follows in Adhjaya 34
Visnu was fighting with the demons* Madhu and Kaijabha Laksmi noticed
the graceful movements of her lord She wanted to know what was indicated
by these movements Lord Visnu told her that they constituted the art of dancing
This art reptesents the three worlds Then disclosed, its secret to Brahma
Brahma imparted it to Riidra« enabling ham thereby to acquire the title of N[lte-
Swara
1 This art which uses hunnn body is us medium of expression develops jn our tradi
tion three varieties —Nrtta Nftya and Ni|ya Dhananjayi ihe author of Da-ktrupa has
defined ih-CSk* terms distinctly as follows —
anyad bhavdsryaip njiyam falalayalrayam II 2 ri
adyam padarthabhiuayo margo defi taiha param ii 5 ii
madhuroddhatabhedena tad dvayaip dvividharp piirah I
las>atjnda\aTLpeaa nafaVadyupakaraVarp II10 II
(Panccheda 1 )
and Adhiniyi Darpana draws i clear distinciion bcti^etm the Iwo NfUa and Nrty' —
*113 3 II
IM V II
According to this definition NfUa would be a non imitative art based upon (he principle
^fTata-and Nrtya whiCh expresses Bhava is an imitain-c art and therefore can be
equated with 5nfiikabhinaya though it would sull be guided by the principle of Tala and
Laya When Augifca works in co-opcrationwilh Saltvika* Aharyi and Vaaka abhinayas it
expresses rasa and in that way become NSlya
This View of Dhananjaya i5 more or less to be found n the Natjafastra of Bharata
Tliough very often the two words Nrtya and Nttta arc used loosely la miny cases one
can sec this confusion as a result of a copyist s error and sometimes due io q lack of preci¬
sion. in the usage of the two words But the general trend » quiie dear
We also find a smitlar confusion about the usage of words Nftta Nrtya and K3tya in
this section too and it has lo be explained on similar grounds namely copyist s error and a
lack of prevision on ibc part of the vintcr
2 Simdar origin of Vpiis is givicti m N S Adhyaya 20 of K'toayasigani edAion
NRTTASUTRA
39
According to the above myth, it was Visnu who originated Nrtta and not
Siva as IS the general tradition to be found in works like N S , A D , S R etc
In a way, however, this general tradition is confirmed by this account where
Rudra is described as getting the title of Nrtteswara by pleasing Visnu by his
dance This, secondary position given to Siva, can be easily understood m a
Vaisnava Purana But the traditional attribution of Nrtta to Mahadeva is corro¬
borated m Adhyaya 85 where, after enunciating the general principle that the
different branches of learning should be represented in sculpture by their origi¬
nators, it IS enjoined that Nrtta should be represented by Mahcswara
Dancing should be performed at the time of auspicious occasions It should
not be performed when one is engrossed m anxieties ( Adhyaya 20, Sloka 21,
Adhyaya 26, Sloka 93 )
It was considered as a part of religious ritual because the gods were pleased
more by the dancing than by the flowers and oblations (Puspa and Naivedya)
Thus dancing was used to please the gods in temples and shrines But the dancing
should not be used as a source of one’s own livelihood ( Adhyaya 24, Slokas
27, 28) The purpose of dancing according to N § is only to give pleasure
to people and to give them instructions (Adhyaya 1, Slokas 115 120)
It IS well-known to students of anthropology that dance was used as a part
of a magic ritual to ward olT evil and to bring about auspicious circumstances
In India, dance was used also as a part of religious ritual to propitiate gods In
Vcdic ritual music formed an important part of ceremony When the practice
of worshipping images in temples became prevalent, music and dance were used
as a form of worship also In fact, in every temple we find a Rangamandapa
where music and dance were performed before the images
kw vs v« scsw?.*.V.vti^ 'MViveJa 'swvtip. aWciV
happy circumstances (Ad 20, Sloka 3 ) It is to be performed on occasions
of joy, but should be completelj avoided on occasions of sorrow
In N S (Adhyaya 4, Slokas 270 271 ) also Nrtta is called Mangalya It
IS performed on such occasions as raarnage, birth and also occasions of joy and
prospenty, because, it is a source of merriment We see here clearly that a magic
use of dance is to ward off evil and to create a happy atmosphere Its artistic
appeal, however, is not missed
In Adhyaya 34 of NrttasOtra wc sec the religious use of Nrtta as a form of
worship It is said that the oflenngs of a dince performance is superior to the
offenngs of flowers and eatables Ke^ava or Visnu is pleased particularly by a
person who w orships him by dancing before him Onc'who offers music and dance
to Visnu, gels the fruit of a sacnfice capable of yielding all desires Not only
one's desires are satisfied bj offering this dance form of worship, but one is able
40
vrsNuonmioTTARA
to get the means to salvation also The didactic aspect of NfUa is also men
iiOTicd and finally^ what we might call for want of a belter word its magical effect
ivcncss IS nlso given by regarding il as ‘ianlikam Pau^tikam’ and KSmyam
It IS inlercslmg to note, however that jt is enjoined that a person earning
one s own livelihood by means of dance is lo be avoided, so also a person uho
so to say sells dance ( Nftta Vjkrayak3raka ) through professional dancers From
these remarks we can infer two thmes about the place of dance in our ancient
Society One—the professional dancers were beJd }xy conicmpi and jhc other
dance itself was regarded as sacred art to be known and practised by religious
people
The major portion of the Nfltasutra of V D is devoted to what vve might
call m ordinary language different aspects and items of dance proper
The subject matter treated here ts much the same as the subject matter
discussed m Adhyayas 4 8 9 10 IK 12 & 13 of N S
The first item that is menlioned js the Recaka of four kinds These four
kinds are Katirecaka Padareeaka Kararecaka and Gnvarecaka according to N S
The reading in our text is KaUp<idamghnkaSrQ}am where Anghn is redundant
The two other words should be kara and Gnva or Ihcir synonyms I would
therefore read the line as Caturdharecokam gri\a katt pada karairyam ( V D
AdhyayalO ^loka 21 N S Adhyaya 4 ilokas 249 to 235)
What IS Recaka? It is no doubt a movement of the hmbs mentioned above
It should mean the outward or forward movements of these hmbs just as the
word Recaka in Pr5n5yama means the outward movement of the breath
This word is explained by Mr Naidu m the following way—Recita of the
various hmbs consists m whirling or moving them about Recaka also consists
m I fling up and moving about (Recita and Recaka are synonymous')
Rahula defines Recita thus The several and independent whirling actions
of the neck the two hands the waist and the two legs consitute Recita
After Recaka comes Can Jt is of two kinds—Can and Mahacan The
reading m the lines preceding Mahacari is Catakanya which docs not yield any
relevant sense The correct reading may be Recakany \ The meaning then
would be that Cart and Mahacari are different from Kecakas
Can ( Ad 20 ) is defined as the delicate ( Sukumara ) movements of limbs
and speech U becomes Mahacari when the movements arc vigorous or violent
According to Bharata Can is associated with the exposition of S[ugani while
MahrScan with Raudra (N S Adhyaya 5 iloka 28 N Sagara) In another
context { iloka 53 Adhyaya 5 N Sagara ed tion) it is said that Uma is pleased
by the employment of Can and the Bhutaganas by Wah-icSn
1 TSediva Lak^apam (Page 77) by Dr B Y Narayana Swam Kai<fu
nrttasutra
41
These references make it clear that the distinction between Cari and Mahacari
is similarto the one between Lasya and Tandya It will be convenient here to treat
of another Can mentioned in Adhyaya 24 slokas 63 of our text. There it is defined
as the movement of one foot This definition is the same as given m N S Adhyaya
10, ( verse 3, N Sagara )
A more detailed description of Can is to be found in verse* 1 of the llth
Adhyaya of Caukhamba edition of N S According to this “Can is a movement
resulting out of the co-ordination ( Samanakaranat) of the foot, shank, thigh
and waist”.
Thus it appears that the word Can is used in two senses—one descnbing
a movement of the foot or the co-ordinated movement and the other showing the
quality of the movements—delicate ( Can ) or vigorous ( Mahacari)
It may be noted here that N S attaches very great importance to Can.
It IS said therein ‘ whatever is relevant m Natya is to be taken as included in Cans.
No part of Natya can operate without Can
Next comes the MandaJa ® A Mandala is created out of the combination
of Cans There are two types—Akaiagami ( aerial) and Bhauma ( earthly ) The
Bhauma refers to the moiements on the ground while the Akasagami refers to
those above the ground There are ten varieties of each of these The Aka5a
varieties are Atikranta, Vicitra, Lalitasaiicara, Sucividdha, Danijapada Vikfta,
Alata, Varna Baddha, Salahta, and Kranta, while Bhauma varieties are Bhramara,
Askandita, Mardava, Samasanta, EdkSkrldita, Addita, Saktakhyam, Ardha,
Piijakubja and Casa Gata
These ten Akfisamandalas and ten Bhauma Mandalas mentioned in N S.
(Adhyaya 11 and Adhyaya 12 N Sagar and Gaekwad senes) are Atikranta,
N'lcilra, Talita Saiicara, Sucividdha, TDan^a pada, Vikrta, Alataka, Varna viddha,
Salahta and Kranta The ten Bhauma Mandalas are Bhramara, Askandita,
Avarta, Samasanta, Edkakridita, Addha, Sakatasya, Adhyardha. PiitJkuIfa
and Casa Gati It will be noted here that there arc some vanations in the names.
After mentioning the Mandalas our Njltasutra mentions 36 Ancah3ras*.
It may be noted here that N S mentions only 32 From the following table.
It Will be clear that most of these Angaharas arc common even though there arc
some slight vanaltons m their names and also in the order of mentioning them.
I. Slhirahasta 4 Aparajita
2 Akiiptaka 5 Mattakrida
3 Uddhatila 6 Viskambha
1 jrhM. It put in a rtctanffular bneket in ihe NirtuyavJgara and Gaekwad edition of N S-
2 in ^ o^^o'c\ cnc >Abc>lc adh>'S)4 \o of
^ S U (Ad 7, (loka FOO nonces of tivcn in N 5-
V 6
42
VlSNUDJIARMOTTARA
7
Svastiicnrecita
22
PalShaka
8
VfJcikSpasfta
23
Sambhr3nta
9
Talamanda
24
Angifca
10
Avasarpjta
25
Ratikn^
11
Mattallisskhalita
26
Atataka
12
Bhramara
27
VidyudbhrSnta
13
PSrJva Svastika
28
ParlVfta
14
Madavilasita
29
Par^vaccheda
15
Vilc^ipta
30
AkSipta Rccita
16
Catiman^ala
31
Saumya
17
Vaiiakhareeita
32
Kan la
18
Parivrttakarecita
33
Sucividdha
19
Udvartaka
34
Apaviddha
20
Pancchinna
35
Vilapa
21
Recaka
36
Aidhanikuttita
The Karanas and Aogaharas constitute the mam subject matter of Adhjap
of N
S which enumerates its 108 -Naneties
But V D gives only 90 naiiKs
1
Tala Puspa
24
Urchvajanu
2
Apaviddba
25
Nikuncita
3
Lina
26
MatUlIi
4
Svashlcarecjta
27
ArdhamaltaSI?
5
Mandala Svastilca
28
Recaka Nikufiaka
6
Univrtia
29
Padaviddha
7
NikuU^i^2i
30
Ta^Jjdbhranta
8
Sucjviddha
31
9
Kancchhinna
32
Ghtirnita
10
Ardharccita
33
Lahta
11
Vaksah Svastika
34
Dand^paksa
12
LTnmattam
35
Bhujangatrastarecifa
13
SvasUkam
36
Nupura
14
Pf^lha Sva&tika
37
Recita
15
Diksvastika
38
Bhramara
16
Alata
39
Ostura
17
Atdhasuci
40
Bhujancancita
18
Katisama
41
Chhirtna
19
Ak^iptarecita
42
Vr^cikarccita
20
K^ipram
43
Lata Vficika
21
Ardhasvaslika
44
Vr^cika
22
Sanatam
45
Vyamsita
23
Bhujaftsatrasita
46
Suclvjddhaka
NRTTASUTRA
43
47
Lalatatilaka
69.
GandasticI
48
Kuncita
70
Panksipta
49
Cakramapdala
71
Parsvajanuka
50
Uro Mandala
72
Grddhavalinaka
51.
Aksiptam
73
Lina
52
Lalalasita
74
Vi§nukranta
53
Argala
75
Ajapluta
54
Viksipta
76
Akranta
55
Bhramita
77
Mandita
56
Vilasa
78
Mayuralalita
57
Vanarapluta
79
Natam
58
Panvrta
80
Sarpita
59
Nivftta
81
Dolapada
60
Parsvakranta
82
Hannapluta
61
Nikuncita
83
Prenkhohta
62
Atikranta
84
Nitamba
63
Avakranta
85
Skhalita
64
Doldpada
86
Karihastaka
65
Vivartita
87
Prasarpitatala
66
Nagapraklijita
88
Simhavikri()ita
67
Vipluta
89
Vr?abhakrldita
68
Garuijapluta
90
Gangavatarana
The 108 Karanas and 36 Angaharas ( 32 according to N S ) form the essential
subject-matter of NfttaSastra The Angaharas depend upon Karanas, because
they are the results of the complex combinations of Karanas It will be, there¬
fore, proper to make an attempt to understand first what is a Karana It is de¬
fined m our text and N S as Hastapadasamayogah (^loka 37 Ad 20) which would
literally mean a co-ordination of hand and foot
The explanation of Abhinavaguptapadacarya on the comment on the word
Karana is noteworthy
ifitq
NS Pages 92-93 GOS
Two important ideas emerge from the above comments Any movement
of hand or foot for utilitarian purposes cannot be included m the term Karana
Onl> tint movement in which beauty enters ( Saundaiyanupraveicna) can be
properly called a Karana Another point to be noted is that the movement
must be complete and not broken ( Alruputvena) The words Hasta and PJda
arc not to be taken merely to mean hand and foot but should be taken to include
rcspcctivcl) tlie parts of the body above the waist and below the waist
44
VISNUDHARMOTTAS^
Karanas, therefore, can be called basic dance movements A combination
of two such dance movements constitutes a Nflta MatflcS This may be taken
to mean that Npta proper anscs when there is at least a combination of twoinov*
ments and not othcr^vlSc
A combination of three such movements of three Karanas is called Kalapaka,
of four a Khandalca, and of live a Samghataka Combinations of six, seven,
eight or nine Karanas constitute the Angaharas Thus, one may say that aa
Angahara js a combmatiOQ of more than five dance movements
Abhinavaguplapadacarya says that by a sort of mathematical permutation
and combination, one can have innumerable Karanas and APg^harqs but that
only thirty two Angaharas are raentioned by Bharata because these are the only
ones which are beautiful—and we may add because they were the only ones
which v\ere probably practised
The Angahara' has been explained by Abhinavaguptapadacurya in two
ways—
(I > 5T^Rr i
which would literally mean a mode of carrying the limbs to another proper posi¬
tion
(2) ^ 3n[i%§cqT t
I e? a performance of Hara ( Siva) accomptisl cd by the movement of
limbs
These two expUnations show that probably the original meaning of the
word Angahara was forgotten It was a word used for a complex dance move¬
ments and one was not sure whether the name is associated with Kara the my thical
originator of dance or it merely meant movement of limbs
In the first volume of the N S pubbshed in G O S the jllustrations of Ka*
Tanas have been published ** In the compartments of the East nnd West Gopura^
of the Nataraja temple at Cidambaram in South India, these Karanas were cut
on rocks, with appropriate ^crses from NS underneath each of these postures
but unhappily only 93 of the postures arc reco\crcd and the remaining 15 were
cither damaged or the compartments altered during the repairs These postures
1 So wc hnd cxplainjng Atigahlra as Artgavik^cpifi So does Hemacandra HcmacantJrt
£i>CS three dcnvationS
^ a ) KK i
(3 ) ai^i SR ?Tr I wftiijfiT) snsii: t
(AbhidhSna Cintfimaoi 2296 Page IIS Ya5o\yaya Jalna Gramhamai3 )
rJRTTASUTRA
45
are fotmd jr Bharata’s order for about 60 numbers and then owing to mason’s
or supervisor’s ignorance or on account of some subsequent alternations m the
construction, the remaining 48 are not in the order followed by Bharata ” ^
The authors of Tandava Lak§anam have made a praiseworthy attempt to
explain and illustrate the Karanas and the Angaharas As the text in Bharata
as well as in our work is obscure and laconic, one cannot explain satisfactorily
these dance items so as to enable one to reproduce them m practice 1, therefore,
do not think it worthwhile to go into details in this matter
After fimshing what might be called the essential items of the art of dancing,
the author of Nrttasastra mentions varieties and styles of dancing
Two types of Nrtta are mentioned Sukumara and Viddha The Viddha is
the Uddhata or violent form of dance, mainly performed by men
We find this distinction of Sukumira and Viddha m verse 53 of Adhyaya 13
of NS
This distinction is similar to that of Lasya and Tandya
Tins IS followed by the mention of Pmdi which is described as having the
‘ shape given m accordance with the symbol of a deity ’ Bharata (Adhyaya 4,
sloka 260 onwards) mentions several such Pindis based upon the symbols of
several deities, e g , the Pindi of Visnu would be Tark§ya, of Brahma lotus, of
Indra Airavata, of Manmath Jasa etc
Abhinavaguptapadacarya regards the Pmdibanddhas as the original element
of Angaharas and Recaka*^ ( Page 166 G O S )
After Pindi, comes the four well-known Vrttis—Bharati, Sattsati Kaisiki
and Arabhati Speech predominates m Bharati The Sattvati mainly exhibits
Vira rasa, Arabhati Raudra, and Kaisiki Smeara and HSsya
N S frequently refers to these Vrttis The whole Adhyaya 20 of N Sacara
edition is devoted to this topic of Vfttis It describes the mythical origin of
VfUis, gives the varieties of different Vrttis, their characteristics and the rasas
which they express We might supplement the information about the rasas of
our text from NS (Adhyaya 22, slokas 65 66, Caukhamba) According to
It, Bharati expresses Karuna and Adbhuta, Sattiati Vira, Raudra and Adbliuta,
Arabhati Bhayanaka, Bibhatsa and Raudra, and Kaisiki Spigara and H isya
. These Vrttis arc followed by Pravrttis. A Pravrtti is defined as the imita¬
tion of the dress, speech and conduct of a particular region or people They arc
1 N S Yol J Prtface Page 11 and 12, G O S
inn i ^ ^ i
46
VlSmjDHARMOTTARA
four m number Avanti, Dak^matya, M^gadhi and PafLcall referring to the four
well known divisions of our country
The 14th AdhySya of N S (Nirnaya sagara edition ) discusses the subject
of Pravritis giving the geography of India as well as the customs and manners
of the different parts of the country with special reference to music, dance and
drama
Two types of actions ( Dharmidharmls ) of the stage and of the world are
mentioned These two types of dharmas arc frequently referred to m NS*
Adhyaya 14 (of C S Senes), ^lojca 69 onwards desenbes these two types of
actions—that which is natural and void of any artifice is Laukika In Natyadharmi
there is always an exaggeration, emphasis and a number of artifices
Finally, come two types of Siddhis or accomplishments—^human and divine
The human is achieved by exercise ( Vyayama) while the divme is due to the
favour of a deity This topic is described m detail in Adhyaya 27 of NS
The ideal Nrtta is one which is expressive of Rasa and Bhava and m accord¬
ance with the Rasa of a poem and following the Tala and the Gita
Lying-donn postures
Adhyaya 21 describes the six modes of Sayyasthanas le six postures m the
bed These arc Sama, Akuncitaka, Prasantaj Vivartita, Udvahita and Nata
AH these are mentioned in N S ^ Adhyaya 13, Verse 219 of ( C S Senes )
The sama posture—Lying down v>ith the face upwards—is one vn which
one sleeps with mouth upwards, hands free and loose
In Akuncita posture—Lying down with limbs narrowed down all the limbs
are curved and the knees are contracted m the bed This posture would show
the feeling of cold
1 cT^II I
II II
g m II ti
It '‘X It
5 It h
[37 IV ]
2 In N Sagara edition after Udvihiiam ihcrcadins u TalhS while in theCaukhamW edition we
have the reading Samam repeated With the help of our text wc can correct the reading of
N S into nataip
NRTTASUTRA
47
Prasanta—^Lying down with stretched position—is the posture of one steeping
at ease in which one hand is used as a pillow and the knees are stretched
In Vivartita—Lying down with the face downwards—the face is downwards
This posture is used for the persons wounded, the dead, the drunk and thrown
down
In Udvahita—Lying down with the head resting on the hand—the head
lies on the shoulder and the elbow is tossed This posture indicates the playful
mood
In Nata—^Lying down with the legs slightly stretched—the shanks ( Jahgha )
are stretched and the hands are loose This posture is to be used to indicate
sloth, fatigue and exertion
"^Sitting postures and seats for ditferent characters
Adhyaya 22 describes the nine Upavesasthanam^ i e postures of sitting and
then discusses the types of seats to be given to different persons
A different textual version of the 12th Adhyaya based upon bha and ma Mss
IS given m the 2nd volume of N S in G O S In this version we do find the metho¬
dical enumeration as well as the orderly description of the Upavesasthanas This
clearly proves that our text and that of S R have followed the version of N S
of bha and ma Mss It is difficult to say however, whether the bha ma tradi¬
tion IS earlier or later
(1) In the Svastha posture of sitting the legs are held* apart The chest
IS somewhat raised and the two hands are lying at ease on waist and thigh ®
This posture is to be used when one is sitting at ease
( 2 ) In Mandalasa one leg is stretched and one is on the seat while the side*
is bent
* We find this subject discussed in Adhyaya 13 verses 193 to 203 of N S (Caukhamba
Sanskrit Senes ) in Adhyaya 12 verses 157 to 165 {N Sagara ed tion ) and Adhyaya 12
verses 203 to 212 ( of G O senes)
1 In the edition of G S S and N S and the mam text of G O S vse do not find the method cal
enumeration of UpaveSanasthanas as we find in our text and in S R In the case of Sayyas
thanani such enumeration is to be found m the N S texts meniioned abo\c
(N S AbhjnaxTigupta Page 169 Vol 2 GOS )
3 Instead of the word VaJs,?ab we find Tr kab m N S the word Tnkah means here the part
between the shoulder blades S R substitutes VistSnta for Vijkambhita probably taking
the word from the commentary of Abhmavagupiapadacarya
4 In the place of Parivam Nalam Bharata puts itrah parS\a^afa me the head ts bent side¬
ways The correct reading of the line seems to be Sira/t p(trd\ anafarji (Sloka 196 )
48
VJSVUbTrARMOTTArj^
This postuce or siUing ss used when one is ihoughful, anxious, depressed,
dejected or love-lorn
( 3) In Klamamanasa posture, the two hands arc lying on the chin while^
the head lies on the top of the arms and the eyes arc full of tears
This posture is to be used when one is seized by a strong person, or bitten
by an enemy or depressed on account of sorrow
(4) In Srastalasa posture, the two hands are hanging dorni, the body
IS inactive and the eyes are tired and dull
This posture is to be used m fatigue, lassitude, intoxication, in fainting,
painfulness, swoon and peril of death
(5) In Visfcambhita posture, the legs, the thighs and the hands are all
curved up and the eyes ere closed
This posture is to be used in meditation, and in reflection with the eye turned
towards one’s own chest
( 6 ) In Utka{afca posture, one sits evenly with both the feet in the same
level and not touching the ground This posture is a natural one and is to be
used when persons sit as members of an assembly It is also used in performing
gfiddhas, sacrifices, meditation, muttering the Mantras and sipping water from
the hands
(7 ) When one knee of a person sitting in the above position touches the
ground, it is called Muktajinu
This posture is to be used m conciliating the beloved, when ofiVaded ft
IS also used ui cleansing floor and m covering the ground with dung
( 8 ) In Janugata posture, both the knees are placed on the ground It
is to be used in supplication before kings and worship of gods
According to Bharata, Janugata position is used in addition to the above,
for sorrow, crying, seeing the dead, frightening bad animals and begging
(9) In Vimukta posture, one falls down on the ground
Tins pD^uTc rs'itJ ’ut-usti -iti ’/t, inA w. kwttwra/iiar.
The description of sitting postures is followed by the suggestion regarding
the difTercnt types of seats to be ofiered to different kinds of persons
This really is no form of bodily gestures j e AngikShhinaya and, thcrC'
fore, has its proper place in Aharyibhmaya
Seats ( Asanas )
Bhadrisana ( Splendid Scat) is used for the gods, Simhasana (the hon-
scat) for kings Rupyasana (silver-scat) is for Samvatsara (astrologers) and
Purodhas (domestic Chaplain) VetrSsana (Cane seat) for AmJtya (minister)
and Mantn (Secretary), MartdSsana (made of Manda Herb) for the SenSni
NRTTASUTRA
49
( Commander of the army ) and Yuvaraja (the prince), Vrsi ( a roll of twisted
grass orpad) for Mum (sage), Dvija (Brahmin), Brahmacari (ascetic) and others
who observe vows Pifhika ( a stool or a chair ) is to be given to the important
persons of the place, the prominent citizens, the prominent merchants and the
local persons Masuraka is meant for courtesans, princes and servants and
Bhumyasana for the rest
In one’s own house, one may use a seat which one likes, excepting the
Simhasana (lion seat)
One cannot have a common seat with one’s own teacher, either on elephant,
on a chariot, on a slab of stone or on a large plank ( Slokas 17 to 22 )
In N S the suggestions are more detailed and specific The Asanas des«
cnbed in N S Adhyaya 12 Sloka 167 onwards as—Bhadrasana should be given
to gods and kings, Vetrasana to Purodhas and Amatyas, Munjasana to Senam
and Yuvaraja, Kasthasana to Brahmins, Kuthasana to Kumaras In this way
the Asanas should be given in Rajasabha
The Asanas for women are described from ^loka 170 onwards Simhasana
should be given to the queens, Mandalasana to the goddesses, Vetrasana to the
wives of Purodhasa and Amatyas, Kuthasana, or Vastrasana or Carraasana to
Bhogmi and Bhuyasana to other women
Pattasana should be given to Brahmam and YatT, Mayuraka to Vaisyas
This type of Asanavidhi is called Bahya On. one’s own house, one may use
any Asana which one likes
Standing posture
In Adhyaya 23, we come to the topic of standing postures—sthanaka of men
and women with their usages
Six sthanakas ( Standing Postures) of men are Vaispava, Samapada, Vai-
^akha, Mandala, Pratyahdha and Ah^ha
(1) In Vai§nava sthanaka, one foot is in the natural position and the
other m tryasra i e obliquely placed sideways with the shank somewhat bent
This posture should be used when one is talking at ease
Our text does not give the distance between the two feet N.S ( Ad 10 )
gnes It as tno and half talas
( 2 ) In Samapada sthanaka, the feet are evenly placed at a distance of
a tala * It must ha\e the beauty of naturalness Rudra, Brahma and other gods
arc the deities of this sthanaka The meaning probably is that this is the natural
position of these gods Tins is also the posture of a group of Brahmins but if
1 T21a = 12 aftsulas.
V7
VJS VUDf tAR MOTTARA
wc adopt the reading it would mean that the Brahmins should pro¬
nounce their m this posture
This sthanaka may also be used to indicate jumping of the birds, the per¬
formance of the marriage ceremony and the position of persons seated in chanots
ind Vimanas It is also the posture of 1he ascetics and the persons practising
penance
( 3 ) In. VaiSikha* the feet are placed two and a half talas apart The
things are bent and the feet are sideways
Its deity IS skanda
This posture is to be used to indicate the carnage drawn by horses, it is also
to be used for exercise and for the entrance and exit of the bow
According to the N S , the distance between the two legs is three and half
talas, while the distance m Vai^tjava posture is two and half talas as mentioned
above
( 4 ) In Mandala, the two legs arc at a distance of three talas from each
Other The waist and the knees are in a line and the feet are sideways
This posture is used to suggest the attack with the bow and the thunder-
bolt (Vajra ) It also indicates the carnage by elephants and lifting up some-
thing in dance
NS calls this posture Amdramandala and giies the distance between the
two feet as four talas There are other variations also m the description
(5) Alidha—when the right leg is stretched at a distance of five talas,
this very (Mamjala) posture becomes Alujha Rudra kali is its d“ity (to be
distinguished from Bhadrakali)
This posture is used cver)ovhere to indicate the action of raising up some¬
thing It IS also used in Raudra movement and to indicate fighting It can
be used to imitate the gestures of a lion as also to suggest in contactine the enemy
It IS used to suggest hand to hand fights sword fights and circular movements
It is also used when angry words are exchanged so also in the clash of athletes
(Mallas) and generally attack and throwing of weapons
1 N S gives a somewhat diffirent descrption of \a ^xkha Sthinaka According to it Uru
should be N satroa ircaning probably depressed wh Je the legs, accord ng lo one reading
should be raised upio chest bur accord ng to another read ng sidcwijs as jn our feat
■551^ gtT enr 'Tisfr ii ta n
(c s ST
KRTTASUTRA
51
(6)' Pratyallfjha—^PratyalTdha is the reverse of Alisha^lostore In Pratya-
Udha, the nght leg is curved and the left leg is stretched ^
The datiavas are the presidng deities of Pratyali^ha 3 ^
The weapons raised in Alidha posture should be released m Pratyalidha
posture
Now we proceed to the sthanas of women They are three—^Ayata, Ava-
hittha and Hayakranta
(1) Ayata*—^In Ayata posture, one leg is in natural position, while the
other is placed at a distance of one Tala obliquely side ways The face sTiouId
look as if pleased, the chest should be evenly elevated with the two hands in
l,ata pose lying on the buttocks
This posture is to be used when one enters the stage (Rangavatarana)
for the first time and m offering flowers
( 2 ) Avahittha*—In Avahittaha posture one leg is obhquely placed, while
the other, which is removed from it by a distance of one tala should be in even
position and Tnka (the part between the shoulder blades ) should be shghtly
raised
This posture is used to express erotic gestures, to show beauty and when
one IS looking towards the road of a lover
( 3 ) ASvakranta or Hayakranta—In this posture, one leg is evenly placed
and the other curved like a balance The distance between the two legs is not
fixed
This Asvakranta posture is of two types—Siici Viddha and Aviddha
This posture is to be used when one is holding a branch ( of a tree ) or
gathering a bunch of flowers It also indicates intoxicated eyes or when one is
talking from a seat or conversing in a natural way
Gaits
It will be convenient to discuss in this section the Gati also, though it forms
the subject matter of AdhySya 29
1 The description of this Ayala pose in N S is different According to one reading the right
foot should be even while, according to the other, it is Ihe left In this connection, our read¬
ing seems to be more appropriate
There is no mention of face and Urah in the three texts of N S Kaji is said to be elevated
In the foot notes of N Sagara edition, however, two verses are given which, though very
corrupt, resemble our text
The reading given m bha and ma mss of G O S of N S are very similar to those of our
text
Many more usages of this posture arc given in N S
2 This posture is dilTercnt from N S »
52
VISNUDHARMOTTARA
The topic of Gati$ (gaits) has been treated jn N S Adhj^ya 12, verse II
omvards{N SagaraandGO S )andAdhySya 13,verses 12onwards(C S Senes)
Two types of Gaits are indicated,—the natural one (Svabhavena), and
the marshal ( Yuddhacdrl) one
( I ) In the natural gait, the knee is raised up to the waist
(2) In the marshal gait, the knee is raised upto the chest
Then again the gaits are classified as Sthira (steady) and ^ighra (quick)
The gaits are also classified according to Rasas, gait in the Erotic sentiment
etc
The movements arc also classified according to three tempos—La^'as—
Dmta (quick), Madhya (medium) and Vilambita (slow)
The Sthira (steady) gait is to be used when one is afflicted by fever, et-
bausted by penance, suffering from pain, in wonder, in avahittha ( dissimulation),
in eagerness and m going as one pleases It is used m love—^mgara and Sorrow—
^oka.
The Sighra (quick) gait is lobe used when one is uneasy, trembling m fear,
in terror, in flurry, ifi joy, in the actions to be done quickly, jn hearing unpleasant
i]es\s, in moving to and fro, in looking at wonderful things, m urgent actions,
in searching the enemy, in pursuing the guilty, and in hunting the beasts of prey*
Gaits expressing scnlimcnfs (Rasagatis)
Gait in the Erohe sentiment ( Smg3tinl gati)—In Svasthakamita re lo%e
which IS not secret, lo've at ease to be distinguished from secret —re
open love, one adopts the Smgann gait One is dressed in a handsome style
and walks with rhythmic steps and the movements of the arms are in accordance
with the legs The way is shown by the female messenger ( duti)
In Pracchannakamita (secret lo\e) when one is going to meet the loser,
one puts black garments, walks with slow steps is suspicious and susceptible
to any sound, has a trembling body and falters repeatedly and looks around in fear
Gait m the ternble (Raudra) sentiment—The terrible sentiment is of three
kinds, > 1 ;; terrible in limbs ( anga ). terrible by nature ( Sxabhd>a ) and ternble
jn make-up ( Nepathj a )
Terrible m limbs (afiga )—^In the aflga raudra there are many Tices many
mouths, a multiplicity of arms fat limbs, deformity and tallness
Ternble by nature—One is rough and cruel and speaks ferocious
Terrible m make up—The body is wet with blood and carries parts of in-
tesbnes in the form oflotus. It also carnes maoy anns.
krttasutra 53
In these different forms of terrible ( Raudra ), the stress in the gait is given
-on the steps four talas wide.^
Gait in the Odious sentiment (bTbhatsikS gati )—This is® characterised
by feet close together or wide apart The ground on which one walks is unpleasant
—either a cemetaiy or a battle-field.
The gait in the heroic sentiment (Vira)—is charactensed by swift foot¬
steps. In the mood of wonder and joy one’s footsteps are also of the above type.
The gait in the Pathetic sentiment ( Karuna)—the step is steady, there should
be no attempt in suggesting beauty and rhythm.
In unenergetic or feeble gait ( of weakness ),—one walks with stiffness
and the body is rolling. When one is severely wounded, one walks as if the whole
body IS contracted.
In the sentiment of terror (Bhayanaka ), the gait becomes quick and stiff
according to the purpose. When one sees a deformed creature one walks with
eyes wide opened.
For ascetics, the gait is slow, the ascetic looking at a distance of a Yuga.
The movement in darkness should be slow on account of the hands touching
-at various objects.
The gait of one sitting in a chariot should be shown by slow steps The
movement of the chariot should be shown by Samapada Sthana ( posture ), m
one hand he holds the bow and in the other the pole of the chariot His charioteer
should be shown as if holding the wlnp
The gait of one seated m a celestial car (Vimana) should be like that of
one riding a chariot. Going up and coming down should be indicated by the
movements upward look and downward look respectively Going through the
sYy sfiould be shown by turning circularly.
The descent from the sky should be indicated by straight and raised feet.
Ascent to a high place should be shown by apakranta steps appropriate for going
away.
1 Abhtnivagupta explains it os a type of motion in which the foot t.akes less lime in falling
than It has taken in lifting f yavatakalena utksepah tato nyunena patanam) N S part 11,
page 143 (GOS )
2 It IS charactensed as Asanni and Vikrsta which would mean near and far off This, by
Itself, makes no sense. Comparing this with N S Ad 13, lersc 54, (C S S ), uc find that the
author of our text has taken these two words dsannapatitaih and ukrstapatilaih of N S.
Thus, the sense would be taking short jumps and Jongjumps The N. S gives further details:
the feet should fall upon one another like the gambolling of a sheep ( Edaka ) The hands
should be in accordance with this mov'etnent, but according to Ma Ms the goit-hkc move¬
ments are to be used in bWiagatih.
54
VISNUtlllXRMOTTXRA
The descent should be shown by steps a^vay from one another as if one is
afraid The movement in water should be shown by upward movement ofthe
steps Climbing on the trees should be shown by the upward movements of the
hands The movement of an elephant should be shown by steps moving sidc^
ways and away from one another in the form SDcividdha and by holding the goath-
The same movement with holding the bit of a bridle and the movenicnt of other
such draught 'inimals should be shown by holding the reins The moYcracAt.
of horse ridding should be shown by Vaii ikha Sihanaha The movement of
the serpents should be shown by the feet m Svastika form Gait of a Vi|a should
be shown by graceful steps and that of Kaiicuki should be shown by unsteady and
stumbling gait In the gait of lean and weak person the movement of the breath
should be obstructed The gait of a person seized with disease or of one tired
after penance should also be similarly shown The gait of one who has walked
a long way should be shown by slow and v^eak steps The gait of a drunken
person should be shown by stumbling on both the sides The gait of a mad person
should be shown by irregular steps He would be talking irrelevantly and would
be dirty and hairy ( shaggy )
The gait of crippled* person should be shown m accordance with his defects
and purpose The gait of a fat man should be shown as if dragging the body
The gait of a Vidujaka should be such as to cause laughter and m his hand
there should be a stick naturally bent In the gait of the menials the e^cS
would be bent thinking of something The gaits of persons of different cou
nines should be shown according to their natural peculiarities Similarly also
of beasts of prey and other ammats
f r^i^trr 5 nfd il ii
sra i
^ ti ti
cPTt rgtftq qiftsqtP'inai i
g ti ti
rr 5 1
I it hr 11
tjqi rgsaum q'tqf ?rp^i5*r5j^3 ^ I
aifsi^n 11 11
= 5 r 11 11
q qwf qi 1
m ti u
[91 H] (CSS ;
NRTTASUTRA
55
The postures of the remaming should he made jn accordance with the mean¬
ing to be expressed
The gait of the persons of the highest class should be slow ( firm ), of the
middle class middling and of the low class quick and frequent The rhythm
(laya) of the three should he according to their nature i e of the highest class
Vilambita, of the middle class Drutavilambita and of the low class Druta In
making movements of steps on the stage one should see the area and the form of
the stage and made them accordingly ^
The gait of women should be with graceful steps, of men, steady or proud
The gaits should be exhibited in accordance with meaning
In short, the dress should be in accordance with age, the gait m accordance
with dress and the recitation of speech according to the gait and acting in accord¬
ance with recitation
After describing the lying-down, sitting and standing postures of men and
women, the text proceeds to describe the Angakarmas in Adhyaya 24 In other
words, it describes the Angikabhinayas This topic is treated in great detail
in Adhyayas 8 and 9 of N S
Movements of limbs
Generally speaking, the descriptions of the dififerent Angikabhinayas are
similar m both the works Though there are at certain places important varia¬
tions
Movements* of head
There are thirteen moyements of the head They are as follows —
1 The verse as u stands in the text does not make much sense If we emend the reading
vikrta to vikr5tc and adopt the reading of c padagalipracarah karyah it would give the
above sense
2 In G O S edition of N S , an additional Sinskarma named Prakpa is mentioned The
verse is put into the rectangular bracket Prakrta is not mentioned by the Caukhnmba and
N Sagara editions It is defined as the easy natural holding of the head and it is used for
auspicious occasions, study, meditation natural actions and m saying Jiya
mis g i
{\\c i\ [bt tfNS GOS]
Names of the mo>cmenls of the head according to A D are—Sama Udvahita Adhomukha,
Alohia Dfiuta^ Kampua> Para\nta Utkjipta ard Parndhiia (j^lcka 49 (o 65)
S R—Dhuta, \jdhuta, Adhuta A\adhula, Kairpua* Akrrapila, Ld\ahjta Pan^uhira,
Aficila, Nihaflcita* Par5\ttta, Ulk^ipta Adhomukha and Lohta (Ad 7 ^Icka 5J lo 75)
See for pictorial Tcprcscntauons of the head ard ibc reck rrovctrrcis, Jain Curakalpa*
druma (Tages 63 to 69 Plates 119 lo 142)
56
VKNUDltARMOTTARA
Akampua, Kampila, Dhuta, Vtdhuta^ Panvahita, LTdvStiita, AvadhuEa^
Ancita, Nikuncita Paravftta, Utk^ipta, Adhogata and Panlolita
( t) Afcampjta’—( dcfinilion )—Raising the head in a natural (Svabhavat)
and straight (
Usage—Making signs, sermontzmg, questioning and soliloquy and
natural talk
(2) Kampita—The above movcnients when done frequently, becorwe
Kampita
Usage—^Angcr, threatening, speculating and taking vows
( 3 ) Dhuta—Whirling the head slowly
Usage—Distress, amazement and forbidding
( 4 ) Vidhuta*—Shaking the head from one side to the another
Usage—Overpowered by cold, suffering from old age, intoxication
and feverishness
(5) Pati\ahila’—Moving the head m a circular movement
Usage—Accomplishment, amazement, joy and sporliveness
( 6 ) Udvahita^—Carrying the head upwards for once
Usage—Height, pride and looking upwards
( 7 ) Avadhuta—throwing down the head suddenly
Usage—Message conversation, signs and invokation
{ 8 ) Ancita—Bending the neck slightly on one side
Usage—Swooning, pamfulncss, anxiety and unhappiness
(9) Nikuhcita®—^Elevating the shoulder and curving the neck
Usage—Pride and amorous diversion
(10) Paravrtta—Turning the head backwards
Usage—Looking backwards or sideways
(11) Utk^ipta—Keeping the head upwards
Usage—catching at a loHy object and heavxnly object ( N S
instead of )
( 12 ) Adhogata—^Casting down the head
Usage—Bashfulness bowing and unhappiness
INS describes it in a dilTcrenl way The head is slowly moved upwards and dovrav^’artU.
Z According to N S Vidhuia is the quick movemeot of Dhuu«
J N S uses ihc word Pary3ya instead of Mandala
4 According to K S ,whcn the Adhuta head is made once oblique, jt becomes Udvihiia,
5 According to N S the NSkuRcita is to be used by wcraicn tp indicate ajnoTOin movemeat
and fwlirgs
28
visNUDjujiMorrAJu
( 3 ) Nirbhugna—Face downwards and somewhat turned upward so as to
look away
Usage—Seriousness
( 4 ) Bhugna—Somewhat downcast face *
Usage—Shame, and natural pose of ascetics
( 5 ) Vivftta—Turning back the face
Usage—Laughing, gnef and fear etc
*( 6 ) Rju—^The normal position
Usage—Natural position
Movements of Chest ( Urah )—
Next come five movements of Urahkarma / e chest movements They are
Abhugna, Nirbhugna, Prakampita, Udvahita and Sama
Abhugna—Chest slightly bent *
Usage—Wounded with weapons, act of killing and heart disease
Nirbhugna—Chest stiff and back lowered
Usage—Stupification (or stiffness), astonishment, pnde and rejec¬
tion
Prakampita—Sudden throwing up of the chest
Usage—Laughter, weeping fatigue, disease and fear
Udvahita—High chest
Usage—Breaching and yawning
Sama—(lit) equal on all sides i e flat or even
Usage—Indicating well being
Movements of the sides { Parsva karma )—
We come to the description of the five kinds of the movements of the Sides
They are saraunnata, Nata, Prasanta, Vivarlita and Apasfta
Samunnata—Waist sides and shoulders are raised
Usage—Retreat
Nata—Waist and sides bent
Usage—Approach
INS has a readaig Kijicidayataip which 1 think should be Kifle danalaiji
2 N S gnes also SIX inoT.cm-ents of Ssya
N S ( Ad S Slo 157 onwards) fiiscs Vidhufa instead of Vimddha and instead of RjW
N S gives Udvihi movement S R agre-swithN S Instead of Nirabhugna S R giv«
Vyabhugna
3 Accord ng to N S the chest is lowered vvh le the back is raised and the shoulder slightly
beet and at times loose Usage—for denoting the confusion of mind rejection swoon,
sorrow, fear, disease arrow in heart and also the touch of cold rain and bashTutness
NRTTASUTRA
59
Prasanta—Spreading out the sides m both ways
Usage—^Joy
Vivartita—Circular movement of Trika (a part between the shoulder blades )
Usage—Circular movement
Apasrta—Moving away the Trika
Usage—’Terror
Moiements"^ of Stomach (Udara)—
Movements of the stomach are three They are KjSma, Nimna and Purpa
Ksama—Slim
Usage—Laughter and Yawning
Nimna—Sunken
Usage—Disease, penance, fatigue and hunger
Puma—Full
Usage—Breathing out, health and voluptuousness
Movements of the Waist ( Kati)—
These arc five They are Prakarapita, VicchinS, Nivftta, Recita and Ud-
vShita
Prakampita—Quick and Obhque movement i e to and fro of the waist
Usage—^The gaits of shorts, dwarfs and hump-backed
Vicchinna—Undulating in the middle
Usage—Physical exercise, looking over the shoulders and arrival of
somebody
Nivftta—Facing one who has turned the back
Usage—Turning round
Recita—Moving all round
Usage—Whirling movement
Udvahita—Raising up of the buttocks
Usage—The sportive movements of women
Movements’ of the thigh (Oru)—
They are five Their names are Kampana, Valana, Stambhana, Udvartana
andVivartana
Kampana—Bending downwards and upwards of the heels and standing
on the fore part of the foot
Usage—the gait of low characters
1 According to S R Ks^ia, KhuIIa, Purpa and Riktapunja N S gives fchalva instead of
Nimna
2 S R gives the names of these movements in their past participles such as Knmpita, Valita,
Stabdha Udvarlita and Nivartita
CO
VISNUDIIARAIOTTARA
Valana—The knee slowly moves inward
Usage—Movements of women at case
Stam'bhana'—^Full of inverted actions
Usage—Baslifulncss,* perturbation and rejection
Udvartana—Circular and swinging or whirling movement
Usage—Physical exercise and Tin^ava dance
Vivartana—The heel goes ujward
Usage—Turning round hurriedly, iluny or excitement
Movements* of Shank (Jahgha)—
The movement of the shank ate five They are Avarlita, Nata, Ksipta,
Udvahita and Panvjlla
Avartita—Movements of the right and left shanks in inserted order
Usage—Movements of the Yidujaka-
Nata—Contraction of the knees
Usage—Standing, sitfing and moving postures
Kjipta—Tossing or moving to and fro the shanks
Usage—Physical exercise and Tandava
Udvahita—^To move the shank in such a way as to lift up the thig'i ( Oru)
Usage—Crooked ot swinging movements
Panvftta—Moving m the opposite direction
Usage—^Tandava dance etc
Movernents^ of the foot ( Padakanna )—
There are five movements of the foot They are Udghaliia, Kama, Recita,
Aficita and Kuncita
1 If we adopt the reading Ap3\^d^nla ofN S (GOS) it would mean swinging motion’,
practically same meaning
2 The reading in Ms C is bhimordhasavisjdesu The read ng m the three editions of N S
IS sadhvase ca visade ca but m ma Ms of G O S edition the read ng is hrisadhvasavisldesu
—which IS undoubtedly the original reading of our teat I have therefore adopted the same
It would be noted that lie readings m Ihc Nrllasutm section of V D agree more with
^ snd r| Mss of bJ S of GOS
3 5 ft gives ten movements of calf First five movements agree with \ D and also with N S.
Five additional movements arc idisrta ParavrtU TirascirS Bahirgata and kampu
4 S R gives thirteen movements of the foot The first six movements are commoti with NS»
, Ihe seven add lional movements are TtSliia Ghaiiiotscdha Cliattiit Mardiia Ae«6ar
Parsoiga. and PirSvas^
NRTTASUTRA 61
^Ud^atita—Standing on the forejiart of the foot and moving down the
heel on the ground
Usage—^Making some one attached and graceful movements
Sama—Two feet are m a natural position on the ground with even placing*
Usage—Natural gestures
Recita—^The foot moves on the forepart and the heel is raised
Usage—Nik^ipta, Recita, Bhranta, Tadita, Pracara, Lahta and
Udvarlita, (i e throwing away, whirling, rolling beating, mani¬
festing, sporting and elevating)
Ancita—^The forepart of the foot is raised This means that the movement
IS on the heel i e the opposite of Recita
Usage—Vanous types of Bhramarakas, probably meaning bee-like
circular movements, ? e circular movements
Kuhcita—middle part of the foot is contracted
Usage—In Atikranta and Abhigamana—that is crossing and going
towards (Atikranta would mean crossing something and Abhi-
^ gamana mere approach Another meaning of Abhigamana is
the act of cleansing and smearing with cowdung, the way leading
to the image of a deity This is one of the five parts of the Up5-
Sana with Rammujas *)
The movement of one foot is called can, with two karam and a combination
of karana is called khinda, and a combination of two or three or four khan^as
arc called man^ala (Compare NS Ad 11 ^lo 3, 4, C S Senes) The text
docs not give the list of the upingas or subordinate bmbs But they are mostly
the same as arc gi\cn in the N S excepting the text substitutes the Danta
for the chibuka N S gi\ es Netrabhrmusa dhataJU^pala^iihukani
Glances (Drstis)
Ad 25 (ilol as 1 to 32) starts with the lists of tliirty-six Dpfis (glances)
followed by their descriptions These thirtj six Drsps arc classified m three
groups The names of the first two groups nrc gi\cn as Ra^a Dpps and Siluyi-
bha\a Dfstis rcspcctj\el> but no name is ruen to the third* group
• The derniuon of N S it more or less identical but the usage is diFcrenL T1 ere the
udslnuita rada is to tc used while rr^cusing udchattiia lanpa for imita’im T1 c rcadins
m ihc itxi seems to be doubtful It is hVcIy Ibat in Arurabn c-nce mbn seema lo be
intcrrol’ied The ongiral reading nirl 1 hate beenK,)Oonukaraccral.ieelc IfweatJcrt
the rcadinr of A cmiraVta canine the rneanirg s oUd be • thj j* da sbo,.Id be used for
reddening the feet •
1 M W’i Sanslnt Erg- Diviioraiy and also Sanadarwnasa^graha
2 K S In \me 6t cf AdhjJjei 8, cal’s ibcn Sa’cltipl Dnt^s-
6^ VISNl)DIlARMOTfXRA
'(I) Rasadf 5 fi$ (The Glances to express the sentiments) are’—
(1) KSnta, (2) DhiySnaka, (3) Hasya, (4) Karuija, (5) Adbhuta, (6)
( 6 ) Raudr2, ( 7 > Vira, and ( 8 ) BlbhatsS The ninth ^anta D^ti is not men¬
tioned in verse K but it is mentioned in verse 9 It is also necessary to make the
number thirty-six So, I have amended the text into $dnti Ca Rasa Drffa^ah
m place of Vijncya, though, 1 should say that the latter is also the reading of N S
(II) Sthayi Df 5 tis arc—
(10) Snigdha, (11) Hf$ia, (12) Jthma. (13) KruddhS, (14) Bhltl,
( 15 ) Lajjita ( 16 ) Djpta, ( 17 ) Vismita and ( 18 ) Saomy5
( III) The remaining ( eighteen ) Df^fis (Sancari-Dfslis) are—
( 19 ) Malma, ( 20 ) Akekara, (21) ^rantJ, (22) AbhitaptS, ( 23 ) Vipluta,
(24) Vijanna, (25) Sankita, (26) Trasu, (27) Ko^l, (28) Nirmlita. (29)
Vibhranta, (30) Kuncita, (31) Sunya, (32) MukulS, (33) Vitarkita, (34)
Madira, ( 35 ) Lalita and ( 36 ) Gian t
IJifferent expressions of the eyes —
Rasa-Drstis—
( I ) Kanta’—Movement of the brow and side-glances inspired by eros
Usage—Throwing a side glance ( kataksa ) at a lover ( verse 23 )
(2) Bhayanaka—eyelids and tips of the eyelashes turned upwards and
eyeballs moving
Usage—Killing *
(3) Hasya_eyelids are somewhat contracted and eyeballs agitated
UsagC““Ha-sya rasa—comic
(4) Karuna_Eyelids arc falling and rising, and full of tears and eyeballs
disappearing
Usage—Karuna rasa-sorrow
( 5 ) Adbhuta—Tips of the eyelashes arc somewhat contracted and eyeballs
somewhat expanded, even and fulLy opened
Usage—Adbhuta rasa marvellous
INS gives eight Ttasadr^Us excluding Santa and eight slhSyibhava Dplis excluding Saumy5-
and sub^titutine Jugupsita and Dma fpr Jihm3 and Lajj td It the number thirty six
by giving twenty Dmis in the third group With these fev^ variations the subject matter ot
in the text and in N S is almost the same
TheN S oflheG O S in the rectangular braeVet and the N S of the N S3gara edition w
the text Itself describe Santa Drsct after Dibhau^ The descnption is practically ideiical with
that inourtcxt InN S welind themcntion of these two traduioos of mcluding afiwU
excluding as one of the n.asas.
2 According to N S in ^rhgSra rasa
3 According to N S m Bhayinaka rasa
NRTTASUTRA
63
(6) Raudra—Eyebrows upturned, curved and contracted suggesting a
frown
Usage—Raudra Rasa-fury
( 7 ) Vira—Middle part is puffed up and the eyeballs e\en
Usage—^Vira Rasa Heroic
( 8 ) Bibhatsa—Eyeballs drawn at the end of the eyes
Usage—^Jugupsita i e Bibhatsa Rasa-disgust
{ 9) Santa—Steady on account of meditation and looking, downwards
Usage—Santa Rasa-tranquiUty
Sthayibhdva Drstis are—
(10) Snigdha—Opened in the middle, sweet and showing mirth
Usage—Looking lovingly
(11) Hrsta—^Middle part is puffed up and tremulous and looking at the
end of the eye
Usage—Joy
(12) Jihma—Looking with eyeballs dowTiwards and slyly sunken
Usage—^Jealousy
( 13 ) Kruddha—Eyebrows crooked and eyeballs motionless
Usage—Anger
(14) Bluta—Crooked eyelids and eyeballs motionless
Usage—Fear
(15) Lajjita—Ejebrows somewhat contracted and eyeballs a\erted
Usage—Shame or bashfulness
(16) Dfpta—Blooming eyes expressing spintedncss
Usage—^UtSdha te in showing resolution to achie\e something
(17) Vismitd—Eyesight e\en with the end of the eye fully opened
Usage—Astonishment
(18) Saumya—E^cn eye sight with c>cn eyeballs
Usage—Looking placidly
Sanc3ri Dpsps—
( 19 ) MaliRd—Eyelids arc throbbing
Usage—Separation
(20) Akckara—Ha\mg eyelids somewhat contracted
Usage—Union sambhoga
(21) Sranl^—Slichtly raised eyelids
Usage—Fatigue
(22) Abhilapli—IIa\mg dull eyeballs and eyelids.
Usage—Dejection
62
VlSNl)DIlXR\iOTtARA
*(I) Ra$adr5tis (The Glances ta express the sentiments) arc—
(1) K3nta, (2) Bh'tySnaka, (3) H3sy3, (4) Karuija, (5) Adbhuta, (6)
(6) RaudrS, (7) Vlra, and (8) Bfbhats3 The ninth S3nl3 Drsfi is not men'
tinned in verse 1, but it is mentioned in verse 9 It is also necessary to make the
number thirty six So, I have amended the text into Santa Ca Rasa Dffiayah
in place of Vijneya, though, I should say that the latter is also the reading of NS
(II) Sthayi Dj-jtis arc—
(10) Smgdha, (11) H^la, (12) Jihin3, (13) Kniddhl, (14) Bhita,
( 15 ) Lajjtta, ( 16 ) DfptS, { 17 } Vismit i and ( 18 ) Saumyd
( in ) The remaining ( eighteen ) Dfffis ( Sancan-Dfsps ) are—
( 19 ) Mahna, ( 20 ) Akekara, ( 21) Sranta, ( 22 ) Abhitapta, ( 23 ) Vipluta,
(24) Vijanna, (25) gankita, (26) Trasta, (27) Ko«3, (28) Nimilita, (29)
VibhrSata, (30) Kuncita, (31) Suny5, (32) Mukula, (33) VitarkitS, (34)
Madira, ( 35 ) Lalita and ( 36 ) Clana
Different expressions of the eyes —
Rasa*Dr 5 tis—
( 1 ) Kantd*—Movement of the brow and side glances inspired by eros
Usage—Throwing a side glance (kafaksa) at a lover (verse 23)
(2) Bhayanaka—eycUds and tips of the eyelashes turned upwards and
eyeballs moving
Usage— Killing *
( 3 ) Hasya_eyelids are somewhat contracted and eyeballs agitated
Usage—Hasya rasa—comic
( 4 ) Kaniija—Eyelids are falling and rising, and full of tears and eyeballs
disappeanitg
Usage—Karuna rasa sorrow
( 5 ) Adbhuta—^Tjps of the eyelashes are somewhat contracted and eyeballs
somewhat expanded, even and fully opened *
Usage—Adbhuta rasa marvellous
1 N S gi\es tight RasadntLS etcTud ngSinu and eight sthayibMva Dfstis crcludins Sauray^l
;iiid substituting Jugupsita and DinS for JihmS and Lajjiia Jt makes the number thirty siX
by giving twenty Drt 5 is m the third group With the$c few variations the subject matter of
Dp 5 tis in the tc^t and in N" S is almost the same
TheN S ofthcG O S i a the rectangular bracket find the N S of the N SSgara edition la
the text Itself describe Santa DfSP after Bibhatsil The desenpuon is practacally idetical with
that in our text- InN S xvefind thcmealton of these two tradiliom of including as well
as excluding Sdnti as one of the Rasas
2 According to N S
3 According to N S in BhaySbuka rasa
NRTTASUTRA
63
(6) RaudrS—Eyebrows uptximed, curved and contracted suggesting a
frown
Usage—Raudra Rasa-fury
( 7 ) Vira—Middle part is puffed up and the eyeballs even
Usage—^Vira Rasa-Heroic
( 8 ) Bibhatsa—Eyeballs drawn at the end of the eyes
Usage—Jugupsita i e Bibhatsa Rasa-disgust
( 9 ) ^anta—Steady on account of meditation and looking, downwards
Usage—Santa Rasa-tranquility
Sthayibhdva Dr§{is are—
( 10 ) Snigdha—Opened in the middle, sweet and showing mirth
Usage—Looking lovingly
( II) Hfstu—Middle part is puffed up and tremulous and looking at the
end of the eye
Usage~Joy
(12) Jihma—Looking with eyeballs downwards and slyly sunken
Usage—Jealousy
( 13 ) Kruddha—Eyebrows crooked and eyeballs motionless
Usage—Anger
( 14) Bhitd—Crooked eyelids and eyeballs motionless
Usage—Fear
(15 ) LajjUa—Eyebrows somewhat contracted and eyeballs a\encd.
Usage—Shame or bashfulness
(16) Dfptd—Blooming eyes expressing spintedncss
Usage —Utsdha te m showmg Ksolattoa to achieve something
( 17 ) Vismitd—Ejcsight even uith the end of the eye fully opened
Usage—^Astonishment
(18) Saumya—Even cje-sight with even eyeballs
Usage—Looking placidly
Saficdfi —
(19) MahnJL—Eyelids arc throbbing
Usage—Separation
( 20 ) AkekarS—Having cychds somewhat contracted
Usage—Union-sambhoga.
(21) ^rdnt^—Slightly raised eyelids.
Usage—Fatigue
( 22 ) Abhitaptn—Having dull eyeballs and eyelids.
Usage—Dejection
64
YISNUDHATtMOTTARA
(23) Vipluta—^Agitated, trembling nnd frightened.
Usage—Miserable state
(24 ) Vi?arn3—Somewhat stupified eyeballs
Usage—^Dejection
( 25 ) SankitS—Unsettled eyeballs
Usage—Doubt
( 26 ) Trasla—with eyeballs JlutJerjng and inspired by Jear
Usage—^Terror
( 27 ) Ko5a^ i e Vikoid—^Eyes openjng like buds
Usage—State of knowledge
( 28 ) NtmUita—With closed eyelids
Usage—^Touch
( 29 ) Vibhrinta—Unsteady and rolling eyeballs
Usage—State of confusion
( 30 ) Kuncita—Contracted eyesights with cuned eyeballs '
Usage—Looking mtnutcly
(31) ^unya—Looking evenly with steady eyeballs and eyelids and yet
indicating disturbance of mind
Usage—Anxiety
( 32 ) Mukula—tips of eyelashes throbbing and dosed
Usage—SmeHtng
( 33 3 Vitarkita—Agitated eyelashes, and eyelids and eyeballs steady
Usage-Speculation
( 34 ) Madira—With full bloomed and whirling eyeballs
Usage—Drunkenness
( 35 ) Lalita—With the ends of the eyes blooming snuling and graceful
Usage—^Amorous expressions of women
(36) Glana—Having closed watery eyes and eyelashes as rf cut off
Usage—Depressed condition of mind and in languor
Movements of cjehds ( Pufayoh karma )—
These arc of nine kinds They are Nimeja, Unme^a, Prasinla. Vnartita^
Akuilcita, Sarna Sphurita, Piliita and Tadita
1 In the list of Dr?tis give the reading SokS In the de(iaiuon—\cr 5 C 19—the
readme is \i^ok3 but m the verse 30 the reading of A Ms is Vikola This is the readiaS
of the N S cdilions also I have therefore adopted the reaching Viko^ emending Soka
into KoSa The rcadms Viioka hoi^c^er, a not inapporpnatc to the usage which is knowl
edge. If Vi5oka is ihc correct reading it may he compared with Yi§okd and Jyoti 5 ni 3 ti if*
Yo^atulra Adhj5>a 1 Siitra 36
^ li
NRTTASUrRA
65
Nimesa—Bringing together the eyelids
Usage—Closing the eyes
Unmesa—Opening the eyelids
Usage—Opening the eyes
Pras irita—^This movement is not defined m the text It is defined m N S
as Ayama i e lengthening or stretching the eyelids
Usage—Surprise i e m Adbhuta rasa and m "Vira rasa
Vivartita*—Stretching both the eyelids
Usage—Anger
Akuncita—Contracting the eyelids
Usage—Smell, touch and unpleasant appearance
Sama—Natural position
Usage—Srngara rasa
Sphunta—Quivering of the eyelids
Usage—Love anger of women
Pihita—^Witli cohered eyelids
Usage—Cold, wind, hot and rain
Tadifa®—Edges of the eje-lids drooping
Usage—Beating
Movements of the C)eballs ( Taraka-karma )—
The Movements of the eyeballs are nine They are Valana, Bhramina,
Calana, Sampra\c^ana, Vivartana, Pitam, Niskrama, Udvarta and Prakrti
Valana—Oblique movement
Usage—H'lsya rasa
Bhramana—Moving the cjeballs round and round in the ejelids
Usage—Intoxication
Calana—Quivering eyeballs
Usage—Vlra Rasa
Sampravesana—Drawing the eyeballs inside
Usage—Bibhatsa rasa
Vivartana—Moving the eyeballs to the end of the eye
Usacc—Spigln Rasa
P^Stana—Loovcning the eyeballs
Usage—Karuna Rasa
J N <: (S'fi’ws It at Sa'ni.Jv-rnaTi / e turned up
N s It at Ahais ie Tvstmed or fixed
9
visnudharmottara
Nj$karma—Outward movement
Usage—Bhayanaka Rasa
Ud\arta'—Backward fnovemcrtl
Usage—Vira Rasa
Prakfta—Natural look
Usage—^The remaining moods that is in moods not mentioned abo^e
Mo>cmcnts^ of the sight (Dfsji-karma)—
Names of six kinds of Dfsjikarmas are given m the beginning but in the
definitions two more karmas are mentioned Thus the DRt*karmas become
eight in number N S , S R and A D give the same number The names given
in the text are Sama, Saeikfta, Anoyflta, Alokita, Ullokjla, Lokita, Vilobta and
Avalokita
( 1) Sama—Eyeballs even and placid
(2) S3cikrta—Looking through the eyelashes —
( 3) Anuvrtta—Looking for (lit and accomplishing ) a form t e idea- ^
tifymg a form
( 4 ) Alofcita—Sudden look
( 5 ) LUlokita—Looking upwards
( 6 ) Lokita—Looking on all sides
( 7 ) Vilofcita—Looking on two sides
( 8 ) Avalokita—Looking backwards
Mostmenis of the Eje-bro«s (Bhruvoh karma
A general instruction is gnen to co-ordinate the movements of the brows
and the eyes The brows should be m accordance with the movements of the
eyes expressing vanous Bhavas (moods) and rasas (sentiments)
Movements of the eyebrows arc seven They are Utkjepa, Patana, Bhrukufk
Catura, NikuScita, Recila and Svabhavika
Utk^epa—Raising the eyebrows upwards
Usage—Amorous movement
Patana—Lowering the eyebrow s
Usage—^Tenderness
Bhnikufl—Casting upwards the two brov'S from the roofs
Usage—Anger
J la the enumeration of Drsfifcarmas, 48 menliOAS only Alokita, tJIIokila and A^atokiw.
while in the definitions two more Lokita and Vilokjta are given Though^ it is difficult to
include all in one fine yet I have tried to put them together m a line of eighteen syllables.
NRTTASUTRA
67
Catura—Just heaving up a little and sweetly one brow lengthwise
Usage—Smgara rasa
Nikuncita^—Softly breaking one or two eyebrows
Usage—Several erotic gestures like Mottayita etc
Recita—Graceful lifting up of one of the eyebrows
Usage—Dancing
Svabhfivika—^Natural pose of the brows
Usage—Normal moods
Movements of the cheek ( Ganija) region—
The movements of the cheek are Six They are K$5ma, Phulla, POrna,
Kampita, Kuncitaka and Prakfta *
Ksama—Depressed according to N S Avanata i e dropping
Usage—Unhappiness
Phulla—Blown
Usage—Joy
Puma—Full
Usage—Satisfaction
Kampita—Quivering
Usage—Anger
Kuncitaka*—Contracted (lit ) broken at the corner, also accompanied with
thrilled hair (Roraanca )
Usage—Laughter, touch accompanied by hompilation
Prakfia—Natural condition
Usage—According to the purpose
Movements of the Nose—
Six movements of the Nose arc described m ilokas 62 to 66 They arc
Nats, Manda, Vikfjla, Socchvasa, Vikumta and SvabhavikT
NaPi—With somewhat bent noslnls
Usage—Agreeable state
MandS—With lowered nostnls
Usage—Sorrow
Viknl'i—With contracted nostnls
Usage—Pungent smell
1 «\U the M« of OUT tc\t omsv the verse siwns the usages of NilcuRats, Rtata wiJ SvSbhivika.
The verse in the lest i$ incorpontcit from h? S Ad 8, SloLa 124
2 N S and S R mention sama instead of Prilrta
3 According to N S SuVu'citaVam. tx «n'rac*rd.
C6
VISMUDHARHOttARA
Ni§karma—Outward movement
Usage—Bhayanaka Rasa
Udv arta—Backward movement
Usage—^Vira Rasa
Prjkfta—Natural look
Usage—^The remaining moods that is in moods not mentioned above
Movements' of the sight (Dfsti karma)—
Names oF six kinds of Drsfikarmas ave given m the begmmng but m tli*
definitions two more karmas are mentioned Thus the Dnlikarmas become
eight in number N S , S R and A D give the same number The names given
in the text are Sama, Sacikrta, Anuvjtta, Aiokita, Ullokita, Lokita, Vilokita and
Avalokita
( 1) Sama—Eyeballs even and placid
(2) Sacikfta—Looking through the eyelashes -
(3) Anuvjita—Looking for (lit and accomplishing) a form le idco- ^
tifyiog a form
(4 ) Alokita—Sudden look
( 5 ) Ullokita— Looking upwards
(6) Lokita— Looking on all sides
(7) Vilokita— Looking on two sides
( 8 ) Avalokita—Looking backwards
Movements of the Eye-hrovis (Bhruvoh kanr,a)—
A general instruction is given to co ordjnate the movements of the brows
and the eyes The brows should be in accordance with the movements of the
eyes expressing vanous Bhavas (moods) and rasas (sentiments)
Movements of the eyebrows arc seven They are Utfcjcpa, Patana, Bhrukuff,
Catura, Nikuncita, Recita and Svjbhavika
Utksepa—Raising the eyebrows upwards
Usage—Amorous mov cmenl
Fatana—Lowering the eyebrows
Usage—Tenderness
Bhnikutl—Casting upwards the two brovs from the roots
Usage—Anger
1 jn ihc enumeraiion of DrStikarmas tioka 4S itientions only Alokjta Xlllokita and Avalokita
while in, the definitions two more Lofcua and Viloktta arc given Though, it is difficult to
include alt m one line >et I have tried to put them togeiher in a line of eighteen svUables*
NRmsUTRA
67
Catura—Just heaving up a little and sweetly one brow lengthwise
Usage—^rngara rasa
Nikuncita^—Softly breaking one or two eyebrows
Usage—Several erotic gestures like Mottayita etc
Recita Graceful lifting up of one of the eyebrows
Usage—Dancing
Svabhavika—Natural pose of the brows
Usage—Normal moods
Movements of the cheek ( Ganija) region—
The movements of the cheek are Six They are KjSma, Phulla, POrna,
Kampita, Kuncitaka and Prakrta *
Ksama—Depressed according to N S Avanata i e dropping
Usage—Unhappiness
Phulla—Blown
Usage—Joy
Puma—Full
Usage—Satisfaction
Kampita—Quivering
Usage—Anger
Kuncitaka®—Contracted (lit ) broken at the comer, also accompanied with
thrilled hair ( Romanca )
Usage—Laughter, touch accompanied by hompilation
Prakrta—Natural condition
Usage—According to the purpose
Moumenfs of the Nose-
Six movements of the Nose are described in ilokas 62 to 66
^^13. Manda, Vikfjta, Socchvasa, Vikunita and SvabhSviki.
Nata—With somewhat bent nostnls
Usage—Agreeable state
Manda—With lowered nostrils
Usage—Sorrow
—With contracted nostrils
Usage—Pungent smell
They arc
* Atl the M« or our text omit the xxrsc gmng the ujas« of NiV-u6cjta, Reata and
, 'erse m the text is incorporated from N S Ad 8, StoLa 12-J
^ ^ S and S R mention sama instead of
AfWrdins to N S SuVufciiaVam, fe contracted
<>s
VISNVDI rARJ!OTTAKA
Socchavilsa—Filled with breath.
Usage—Agreeable smell
Vikunita—Drawing together the nose
Usage—In Jugupsila t e disgust
Svibbavikr—In naluraJ pose
Usage—In the remaining slates
Movements of the Danta ( Teeth )—
After the movements of the nose* come the five movements of the teeth.
These five are Kutjana* Khan^ana, Chinna, Cukkita and Samata
In Dantakarma, the tongue and the lower lip should be nibbed together
Acxordmg to N S these arc the Cibuka-karmas But if we adopt the reading
Dantakarraani instead of Dantakarmani, these fi\e would then be so many
Dantakarmas
N S defines the Cibuka Knya as the combined aclion of teeth, bps and the
tongue
DantOs{hajihvanarfi karanacchibuka knja U 149, Ad 8
Kulfana^—Biting with force
Usage—Disease
Khandana—Pressing together the teeth
Usage—Firmness
Chinna—Knocking the lower against the upper row of teeth
Usage—Anger
Cukkita*—Opening wide
Usage—HIsya
Samata^—Even
Usage—In other states
Movements of the lower Iip ( Adhara )—
Six movements of the lower hp arc mentioned (NS and S R agree with
our text) They are Vivartaua, Kampa, Visarga, Vjguhana, Samdasta and
Samudga
Vivartana—Curving the teeth at the end of the mouth
Usage—Jealousy
Kampa— Making the lowcrdip quivering
Usage— Anger
1 According to N S San£har 5 ana / p gnashiiifi the teeth
2 According to N S in ya^MUng
3 After 5an?aiJ N 5 adds two more—Lehana and Ba^fa.
NRTTA SUTRA
69
Vjsarga—^Protruding the lower lip
Usage—Fear.
Viguhana—Taking m the end of the lower-hp.
Usage—Dragging and m forms of mental derangement.
Samdasla—biting the hp with the teeth.
Usage-^ira and Raudra rasa
Saraudga—First rolled and then raised
Usage—Compassion
Svabhavaja—The natural movement should be used in the remaining states.
One should exhert in the matter of the upangakamias because Nrtta depends
'ipon them
Haslabhinaya—►
A comparatively long adhyaya of 97 verses is devoted to the treatment of
Hastdbhinaya, which shows the importance attached to this topic
First thirteen verses arc devoted to the mention of the tliree kinds of Hastas
'*♦ Asamyuta ( 22 ), Samyuta ( 13 ) and Nrttakara ( 29 though not mentioned )
The subject matter of this adhyaya is described in Adhyaya 9 of N S
*nic total number mentioned in N S is Catuhsastikara t e sixty-four hands
With a few \anations, the substance is practically the same
The following table gives the comparative lists of the different kinds of
Hastas described in our text,* m N S , in A D , in S R and in ^n-Hastamukta-
xah
VD
NS
A D
SR
SHM
Asam\uta
22
24
28
24
30
Samyuta
13
13
23
13
14
Nftta Hasta
29
27
13
30
27
64
64
64
67
71
Asamyuta Hastas—
Now let us n'lrr.atc the usages and meanings of the different hand-poses,
Twenty-two single hands—^Thc names of the twenty two single hands arc Pataka,
T^npatal a, Kartariraukha, Ardlncandra, Ar.lla, 6ukaiun.Ja, Musp, Sikhara,
^pittha, Khniakumukha, SOcyasya. P.admTkosa Uraga (^ir«a ) Ntj-gasir^i,
LJngQla, Kolapadma. Calura, Dliramara. Hinis'tsya. HamsTpiksi. Sindain^a,
and Mukula
* N S.A D S R .3iJ Sfi Itjjtam ikiivati ha'croienb cioniera ed ihen-imetoftJvc <J iTcrcrt
hanJ pMcj bill have iSe^intd t’'e ct i*'Cir man'rabticru ard rc''Mrtd to
•rrhoticn or
70
vjsnudiiarmottara
PatSka—^The hnnd m which the thumb is beat arid all the fingers arc simul-
laneously extended is called PatSka
Usage—Beating obstructing^ throwing do^vn When the fingers are
rdovmg it shows wind and ram When these go upwards, it
shows energy, and when moved downwards, it shows umbrella,
cic When guing Tilla on Pujkara drum, the hand is even and
the fingers arc moving Wlien raised on a side, il is used for
Recitflka (whirling) movement and when raised straight, it is
used for holding or supporting something
TnpatSka—^In the Pataka hand, when the anainika (nngfinger) is bent,
It 15 called Tnpataka
Usage—U ts used to address a person, to denote a crovm tVhen
fingers arc moved, it indicates small birds With anSniika
the tears arc wiped, it is also used in auspiaous baths, (but if
we take the reading SparSanam, it would mean touching) for
resting the head for covering the cars, the same is turned
downwards for showing the acting of the movetnerts of ser¬
pents and Bhramaras (Bees)
Kartan Mukha—^When the tarjani ( fore linger ) of Tnpataka hand looks
at the back^ ( of MadhyamS ), jt becomes Karlanmukha
Usage—^Walking on road, cutting and falling
Ardhacandra*—When anamika (the nag finger) touches the thumb, it
becomes Ardhacandra
Usage-^Denotmg young moon children, lala trees, girdle, jaghana
( hips) and ear rings
Arala—When the P/adesini (fore-finger) is bent like a bow and the thumb
IS bent and the remaining fingers are separated, raised and then curved,
il becomes Arala
Usage—Showing profundity, spintedness, heroism, galhcnug the
hair and m wiping the perspiration and anger
2 * Whose back?* is not mentioned in our text but N S raenUOns tnadhyamSySb
3 AccOTcSin <5 to A D —if the thumb of Oie Pataka hand is stretched oat the twnd becomes
A^dhiicaiidra
According to S H M—If the (four) fingers from the forefinger to the htUc finger, arc bent
together and the thumb is also bent the hand looking Lke a bow it is Ardbacandra Or,
when the middle fiager, the ring finger and the htilc finger form a fist and the fore finger and
the thumb art held out apart the hand is called Ardbacandra
( Of these two that which is exceedingly proper in a pirticular abhJnaya ihould be used X
NRTTASUTRA
71
Sukatii^(^a—^Whenin aralahand anamika (the nng finger) is bent, it becomes
Sukatun^a
Usage—Saying “ I am not you ” and in the beginning ( atha) and
in the end (iti)
Musti—When the fingers are bent into the palm and the thumb is set on
them, it IS called Musp
Usage—Beating, physical exercise, pressing hard the breast, holding
the sword and the stick and in seizing a spear and a stafif
^ikhara—When in the above hand, the thumb is raised, it becomes ^ikhara.
Usage—Holding the reins, bow and a goad
Kapittha—^When the thumb is inside the Musti hand, it is called Kapittha
Usage—Suggesting the holding of a disc or an arrow
Khalakamukha—When m the same hand, the anamika and the little finger
are raised and bent, it becomes Khatakamukha
Usage—Sacrifice, holding an umbrella, dragging and fanning, and
holding a garland
Sucimukha—^When in the above hasta the tanani (threatening finger) is
stretched, it is called Sucimukha
Usage—Showing night and day and the eyes of India and Mahcia
Padmakoia—^^VheIl in the Sucimukha hand, the fingers are kept apart and
cun’cd With the thumb and raised upward like the nails of a swan,
It becomes Padmakosa
Usage—The line giving the usage is not given m our text but in
N S its usage is given as denoting the Bilva and Kapittha fruits
and the breasts of women
Ahisiras—^When in the Pataka hand the thumb is clinging and the middle
part IS hollow, it becomes Ahisira
Usage—Offering water and sucana The meaning of here is
not clear
Ml-gnSirsa—^When all the fingers nre bent down together and the little
finger and the thumb erect, the hand becomes Mrgasirva
Usage—Piercing with a nccdic, making a hole, and in brandishing
the “ Sakti ” weapon
Klngula'—^When the middle finger is between tarjanl and the thumb kept
Wide hkc trcilgnl (three sacnfieial fires Ahavanl>a etc according to
I la enumeration the read ns n our Mtt. « LS'tsCla but in the descnrljon C S’oVa in |},g
rtidine IV Kiftjula So I have adopted the reading KiftytUa. The «orJ vcvpljired
by Ab’a'UvajuplapSdJeJrja m hit cotranectary at foPotvi —
72
VISVUDHARMOTTARA
Abliinavaguptiipadlcarya) and anamiks is bent and ihc Kamyasi
(htUe finger) is erect, the hand becomes Kangula
Usage—Denoting fruits
Kolapaclma'—When the fingers are moved and separated and made to
move m order in the palm, the band is called Kolapadma It is also
called Alapadma and also Alapallava m NS
Usnge—Denying saymg ‘No* and denoting void
Catura—When three fingers are stretched out, the KaniyasF is erect and the
thumb resting upon it, the hand is called Catura
Usage—Eiplaming the practical actions of speech, and recitation
and also denoting the colours, when raised it shows white,
when it IS semicircle it suggests red, when m curie, it shows
yellow and when compressed, it sliows blue and when in normal
position, it shows black and all the remaining colours
Bhramara—When the middle finger and thumb are in Samdamia position
r e compressed so as to form pincers and the fore finger is curved and the
remaining fingers are separated and raised the hand is called Bhramara
Usage—Holding the lotus and ear rings
Hnmsavaklra—When the tarjani madhyama and the thumb without any
mtCTSpacc between them are placed distinctly hke trctagai (three
sacrificial fires } and the remaining fingers arc outspread, the hand is
called Hamsavaktra
Usage— Slimness lightness, fragility and softness
Hanisapak$a— When the little finger is raised obliquely and made mfo the
round shape and the thumb is bent, the hand is Hamsapaksa
Usage—Resting of the checks, dinner, acceptance of gift touching
nnomting and shampooing
Samdam5a —When m Arala hand, the fore fmger and tJic thumb arc pressed
together m a way to form pincers and the middle of the palm
IS bent It is called SamdamSa
Samdani^a is of three types—Agraja, Mukhaja and Parsvakrta
I NS (G O S ) Vol 2, Page 47
N S gives Kangula and our Mss giv-c KartguJa It is diaicuU lo say which is coxicct
j AccordingtoS H M—When all the f users being spread out and separated turn
turn towards the side of the body the hand is called Alapadma
According to A D f ngers begionins v,iih the I ttlc finger arc beat and separated
from one anciher the hand is called Alapadma
NRTTASUTRA 73
Usage—^Agraja SamdamSa is for holding, and extracting thorns etc
Mukhaja SamdamSa—the 51oka giving the usage is missing
m our text The corresponding §loka from N S gives the
usage thus—plucking a flower from its stalk, filling m the
receptacle with chips for annomting the eye
ParSvastha SamdamSa is used m colounng a drawing, in
yajnopavita, m pressing the breast and in showing the head
Tvlukula—When in Padmakola hand tips of all the fingers are joined to¬
gether, the hand is called Mukula
Usage—^Worshipping deities and offering oblations and denoting
the lotus
Samyuta Hands—
The names of thirteen combined hands are—
Anjali, Kapota, Karkata, Svastika, Khatakavardham5na, Utsaflga, Nijadha,
Dola, Pu$paputa, Makara, Gajadanta, Avahittha and Vardhamana
Anjali—When two Pataka hands are folded together, the hand becomes
Aiijali
Usage—Saluting gods, teachers and paternal ancestors
Kapotaka—^When the sides of each other meet together, the hand becomes
Kapotaka
Usage—Denoting cold, danger, and showing modesty
Karkata’—When the fingers of one hand pass through the fingers of the
other, the hand becomes Karkata
Usage—Yawning
Svastika*—^When two Arala hands are stretched, palms upwards and lying
on bent sides and placed on the wists in the Vardhamana w'ay,
the hand is called Svastika
Usage—^To denote cvcrjahing that is widely spread, seasons, sky,cloud,
sea and earth
KhatakSvardhamanaka—WTicn one Khafaka (the half-closed liand) is
placed upon another, the hand is KhatakSvardhamanaka
Usage—For love-making and bowing.
I S,tl M —'When the finders of one hand past through the opcningi bctwietn the fnj-ra of the
cihcT hand ihc who’e thing loolong bkc a bower of crccrcn ihc hand u *
^ Accord ng to A D — * \\>cn two Patlla hands arc across czJi oihcr at ifccif tmit. they
form the SvaittVa hard *
^ 10
74
VISNUDirARMOTTARA
Utsanga—When two Ar5la hands are stretched, the paira upwards jn reverse
position and in the VardfiamSna way, the hand becomes ITtsanga
Usage—Indicating the touch of somebody else
Nijadha—When the Mukula hand covers the kapittha hand, it becomes
Nifadha
Usage—all sorts of compressing
DoU'—When two Pataka hands are hanging downwards, it becomes
Dola
Usage—meditation, chanty and showing eatables
*Puspapiita—^When the fingers of the Sarpa or Ahihras hand are closed
together and the ’other hand is joined to its side, the hand is Pa$paputa^
Usage—The line giving the usage seems to be corrupt Jt laigbt
mean—all the former things should be acted by this hand
According to N S the lisas'- would be suggesting ,the
plucking of flowers and the earrjing of water e'^c.
Makara—^When two Pataka hands are placed one over the other (on the
head) and facing downwards, the hand becomes Makara
Usage—showing the actions of bon, tig-r, deer etc
Gajadanta"'—^When the elbows and shoulders m the Sarpaiirja hands an?
bent towards each other, it is called Gajadanta
Usage—carrying the mountain
Avahittha_^When two Sukatun^a hands are placed on the chest and bent
m the forepart and slowly bent downwards, the hand becomes A\ ahittha
Usage—^weakness, high breathing, and showing the limbs
Vardhamana —When two Hamsapaksa hands are in opposite directions.
It becomes Vardhamana
Usage^—denoting ventilations windows etc
All these different hands indicate different types of rasas
1 ad — ' When the Palika hands ore ptaccd on the thigh the Dota hand is formed ‘
2 ad — When two Sarpai r?a hands meet on one side they form the Ihjjpapula hand ’
SHM— If l"® Sarpahr?a hands meet On the s des of the litlie fngers and are made
appear like a iMiinotsins fan it is satd to be Puspapula
3 The other hand according to AhhmavagLpta is Earpa^ir'a.
4 S H M —‘ If two Sarpahrsa hands arc held forvsard the clto\w, haiirg been contracted,
it IS said by Subhaipkara to be Gajadatita
NRTTASUTRA
75
Jirttahastas
The names of Dance-hands are-Caturasra, Udvftta, Laghumukha, Arala
khafakamukha, Awddha, Sucimukfaa, Recita, Ardharecita, Avahittha, pallava,
Nitaraba, KeSabadha, Lata, Kan, Paksancitaka, Paksodyota, Garudapak§a,
Danijapaksa, Urdhvamandala, Parsvamandala, ParSvardhamandala, Uromandala,
Mu5ti. SvasUka, Padmakosa, Alapallava, Ulvana, Lalita, and Vahta
Cafurasra—Two Khafakamukha hands are at a distance of eight fingers
from the chest and with their elbows and shoulders in the same level
and facing forward
Udvrtta or Talavmtaka—^The two Harasapaksa hands are turned hke a
palm-leaf fan
Laghumukha—Two Caturasra hands are given the shape of Hamsapak§a
hands and turned obhquely with palms upwards
Arala Khalakamukha—^The two Arala hands are loosened on the wnsts.
Aviddha—Two hands with the ends of the elbows curved and the palms
of the hands bent downwards
Sucimukha—^Tfto Sarpa^iras hands m the Svastika form with their fronts
spread obliquely
Recita—^The movements originating from the Hamsapak$a hands and the
palms spread upwards
Ardharecita—The left hand is Caturasra and the nght is Recita
Avahittha—^Two Tnpataka hands are bent at the elbow and made slightly
oblique
Pallava—Two hands are loosened from the vnsts
"Nitamba—Two hands come out from the tops of the arms ( to the hip).
KeSabandha—Hands raising from the sides and acting on the shoulders.
Lata—Lying on the side and extended obliquely
Kan—One lata hand is raised and moved from side to side and the other
is Khalaka hand
Paksancitaka—^The fore-parts of the Tnpataka hands arc placed on the top
of the waist
Paksodjota—^The same m the rewrse order
Garudapaksa—Two palms arc downwards and shghtly bent
Dandapakfa—Two arms are stretched
UrJhsamandala—^Thc same being raised high and mosTd round
Paris-amandala—Tlic same placed on the sides
76
VISNUDHARMOTTARA
Pit^virdhamatnjala—According to N S the Ar£la Pallava hand crossw
half of the chest and half of the sides
, UfomatidaU—^Two hands are covered by one another ( and according to
NS moved over the chest)
Mujti—Two hands are on the wnsts contracted and bent
Svastika—The same jn the shape of Svastika and placed on the wnsts
Padmako^a—^Two hands are in the Padmakola form
Alapallava—^The fore-parts of both the hands are enclosed
Ulvana—Raised and extended and curved
Lahta—Pallavn hands on the head
Valita—Lalita hands placed on the elbow in the form of swastika
Nntahastas arc to be distinguished from the Abhinayahastas in as much
as they do not convey any sense like the Abhinayahastas Abhinavagupta has
discussed this point in his commentary on verse J 83, Page 70 of N S Vol 11 GOS
The acting of the hand is not to be practised when one is sick, old, practising
some vow, overpowered by fear, m drunken state and m anxiety ^
There are four ways of moving the N^ttahasias They are LTdevsta,
Samavesta, Vivestita and Vivartita
An important general remark is made at this place in our text It is beauty
which djfFerertiates Nrtta from other movements Therefore in Nrttahasta*
the movement should be graceful
C Lahtyameva vijncyam nj-ttasya pratibodhanam—95 )
Tile different hands of men and w omen are to be acted according to the place,
time, production and meaning
This finishes the description of three types of the hands uz ( I) Asamyuta,
< 2 ) Samyuta and f 3 ) Nrttahastas Though generally our text and N S agree
in the subject matter of this topic, there are important vanations in names, num¬
bers and usages
Mudras
Our text m Adhyaya 32, 33 describes what are known as Hastamudrtis
It will he convenient to take up that subject here
Adhyaya 32 deals with Rahasyamudras ie those hand poses which Iiaifi
a secret or mystic meaning and Adhyaya 33 discusses Krttahastamudras i e hand
poses used m dancing The subject matter of Mudras is not treated m N S Wc
can, however, identify some of the hastas described m N S with some of the
Mudras of our text A D describes a few Mudras—
1 Vyadhigraste etc The Saptami might also suggest that the conditions
arc not to be shown by hand a<^ons.
NRTTASOTRA
77
The Mudras form an important topic in works of Tantrasastra I have
consulted Sarada Tilaka, VamakeSvara Tantra, Jnanamava Tantra and the ex¬
tracts of Tantrasara and Kalika Parana given m ^abdakalpadruma I may say
here at the outset that only a few Mudras mentioned in our text are similar to those
mentioned in other works It is, therefore, difficult to trace the source from
which the subject-matter of mudras is adopted m our text
The word Mudra is explained by William Momer in his Sansknt English
Dictionary as —
^ Name of particular positions or interwinmgs of the fingers (24 in number,
commonly practised m religious worship, and supposed to possess an occult
meaning and magical efficacy) ’
It has been explained m Tantrasara (quoted m ^abdakalpadruraa) as
follows—
I
wcTf ii
Me R K PoduvaP—gives a good definition of Mudras which I quote
below—
‘The term Mudra is borrowed from Hindu religious vocabulary, and signi¬
fies Us technical acceptance and connotation the poses that are given to the hands
during the exposition of an idea These Mudras are not similar to, hiero¬
glyphics, and are more expressive and powerful in effect than the spoken language
According to him there are three classes of Mudras—Vaidic, Tantnka and
Laukika In Laukika he includes, Mudras of art which may be compared to
our Nfitahasta Mudras
Rahasja Mudra—( Adhyaya 32 )
Omakara (a^Tir) Mudra—The TatjanI finger is arched on the left thumb
which is extended
^ and 3il—
Mudras—All the fingers beginning with the thumb arc. curved one by one,
m the Middle of the hand t e palm
I, 3^, —
Tlic above fingers arc extended
^ —
Mukula Insta
1 In Admimiiration Report of the dcpartircnt cf ArchatoVfj (1107 M E.) Tra«ncerc
2 Ii uouM be nicmtirs to inwtfja'c if there w 2 ij> rcfiticn Ictncen the ihaptj ef lhe*o
faijCT fwj #nd sotne fcnrl ef snoent Indian Scnpi
78
VISNUDIIAKMOTtARA
91-
Particular type of Mukula hasta
—
The TaijanT of one hand touches the root of the thumb of the others
<r ^rrt —
The Tarjani on the lowest line ( Rekha ) of the thumb
7 with ^ etc
On the line (of the thumb) above Beginning with Tarjatu, it is <r^
Fingers after that is 51
^ and aj—
Middle finger touches the nail
StgaiSciaa:
8}~
The Rahasya or mystic sigatficaace of 3i ij V3sudeva
an—
Sankarsana
8t—
—Pradyumna
at —
—Aniruddha
Anjali Puruja mudra—^It is difljcult to make out what is Anjali Purufa
The reading may be siarfSi 3 ^
Tarksya Mudra—The backs of the two hands touch each other m such
a way that Kaniyast meets Kaniyasi, Taijam Tarjani and Angu^Jha
Angustha
Tala—^The tips in the Pataka hand are curved
Makara—^Thc thumb is spread obliquely
Ardhacandra— The finger is curved
gaftkha—In the Sikhara hands the Ups of the fingers ore joined with KaniyasI
and the thumb is attached
Padma—When two st iRti; hands are attached to each other in such a
way that the fingers loueh one another
Lak$ml—The thumb is curved
Seja—In Makara hand fingers are spread
BhogaSayana—The Sikhara hand is above the Makara
Garuda—In ^ hand the middle linger is stretched
NRTTASUTRA 79
Gani^avahana—In the same hand, the middle finger is held by the Sikhara.
Cakra—^The tips of two Madhyama fingers and two thumbs are joined with
one another
Gada—One Kapittha hand on another Kapittha, and Cibuka (Chin)
resting on them
Hala—Bent Madhyamika in Kapittha Hasta
Musala—^The Karkataka hand
Carma—Middle finger falhng dotvn from the middle of the Kapittha hand
Khadga—Make Kapittha hand, and let the finger touch the back of the palm
Dhanu§—Make the Sikhara hand and let the middle finger hang down
5ara—Separating the joined Tarjani, Madhyamika and the thumb
Kaustubha—Make the Mukula hand and let the Kanmika curve
Vanamala—Make two Sikhara hands apart from each other
Nfsimha—Join two separate 3T to hands
Varaha—Make the ^ikhara hand and stretch the httle finger do\\nward8
HayaSiras—^ Mudra
Vamana—Mudra
Tnvikrama—^The span from the end of the httle finger to the end of the thumb
Matsya—Ardhacandra Mudrl
Kurma—Turn downwards the curved Pataka hand
Hamsa—Make Sikhara hand and turn the httle finger and spread the thumb.
Dattatre>a—Curve the pataka in the middle of the hand
ParaS urama—Kapittha
DiSarathi—^Join two Sikhara hands
Knpa—Pataka
Baladcs a—Tripataka
Yijnu—Siklnra.
PftliivT—patSka I>mg on the bick.
Tojn ( water )—Cune the PaU* a and stretch the Anrusjha
Agni ( fire )—Pul the finger on the tip of the thumb to indicate tl c nail
\ u>u—h!o\ing Pataka
Artank^a—Make tl c Mujp oblique with the strctcl cd T-rja"!
A*Tla (Sun)—Join two \itaitit (a 'pa" between t’'c tb-mb
erd httle finger) and rou"d rbepc
VlSNUDllAnMOlTAKA
Candra ( Moon )—Curve the half of Anjimki
NaranSrayana—Fonn the Mukula shape with fingers and stretch Madhya-
mika and TarjanI
Brahma Vijnu MaheSvara—>In the above hand, the An5injkil is stretched.
It indicates three Gunas sattva, rajas and tamas, as also BrahraS
Vijnu and MaheSvara
Kapila—Extend the thumb of the left hand and put above it, similarly the
thumb of the right hand
Vedas—Spread the four fingers^ and curve the thumb at their roots
Rgveda—Stretch the Kani;)hi1ca
Yajurveda—Stretch the Anamika in the above
j
Saraaveda—Stretch the four fingers with the Aigu?tha
Gayatri—^Jom all the fingers together and turn them round in the middle of
the palm
Siksa—Make the Saraaveda Mudra with the fingers dowmvards
Kalpa—^When the above faces the south
Vyakarana—Bring together the Tarjani and the thumb
Nifukta—Make the thumb of the Sikhara touch the middle of the Taijnni
Jyotija—Two Khatakamukhas
Chandoviciti—^The above downwards
The descriptions of the Mudras clearly bnng out the sigmficance of the
term Rahasya Mudra because they signify gods with their insignia, the syllables,
the Vedas and the Vedangas
The whole of this adhyaya is m prose excepting the last verse which intro¬
duces the next adhyaya as describing Samanya Mudrahastas This title for
the next adhyaya is more accurate than the one given in the colophon asl^rtta
iastra Mudras because it contains, in addiUon, many other kinds of mudras
Samanja Mudra {Adhyaya 33>—
Bhasma Mudra— The hand is lying on tlie back, the four fingers are bent
and the thumb is joined to the side
Linga Mudra—^In the above hand the thumb is obhquely raised
Jata Mudra—Three fingers are contracted and placed upon the thumb and
the Taijani is stretched
j The Significance of Catura in dus definitioo is not clear but if ive fate tbe readiUs catv5ro
vedah then this Mudri indicates four vxdas Tbc Toya Mudra is already described Hiere-
fore there is no point tn repeating it.
NRTTASUTRA
81
Netra MudrS—In ths abo\ e hand the Tarjani is brought near the end of the eye
Sa^anka—^The above Mudra put over the head lying on the back with the
thumb stretched
Govrsam—All the fingers above the bead arc stretched and rounded like
horns
Paryasta—The abo\e hand is made obhque wnth all the fingers bent and
covering the thumb \\^th the middle finger
PatU—The small finger is contracted and placed upon the thumb and then
three fingers are stretched
Dik?a—^The thumb is between Kanisthika and the Anamika
Ananta—Both the hands lying on the back with their fingers intertwined
and the thumb at the end of the small finger
Dharma—On the back of the left hand the nght hand is placed in such a
w'ay that the nails of the two hands come in contact
Jhana—The above hand in reverse
Vairagya—Two Kanistbikas and thumbs of both the hands are formed into
a pair and stretched
Ai5varya—Backs of both the hands are joined m such a way that the little
finger and the thumb are joined
Padraa—Backs of both the hands are joined m such a way that Kanijtha
and TaijanI are joined together and the remaining four raised
Sakala—In the above hand the stalk of the lotus is formed by bnnging
the two thumbs on one side ( Ekatah )
Ni§kalarupml—Three middle fingers are cuned, the smalt finger and the
thumb mov'e on the edge, and the nght thumb lying on the back is
wrapped by the left thumb The left thumb is wrapped by the fingers
of the nght hand and the fingers of the nght hand arc wxapped by the
fingers of the left and the Taijanls arc curved
DcvI~.Thc back of one hand is joined to the back of the other with the
thumb and the fingers cuned in the middle of the hand in such a way
that the nails arc hidden, the thumbs are placed evenly and the
shape of a garland is given
Saktjakara—One thumb is joined to the other and the small finger to the
small and the six fingers joined and also contracted in the middle of
the palm
Skanda—Hand downwards and three fingers contracted
Vighnaraja—In the above Mudri the middle finger is slightly I«fli and the
thumb IS placed on the Tarjanl so as to give it a shape of a tooth
II
82
VISNUDHAHMOITMIA
Mudr5—The t^^o hands arc stretched Jyjns on the back and the leh
Tarjanl and Ahgu^tha arc jomed
Hul9$ana—In both the hands tlic nails arc bent in the middle and the thumb
ts to be stretched so as to he flat and the thumb raised upwards and
the middle stretched
VirQpflTc^a—^Thc hand is lying on ihe back and the fingers are stretched
VaruoT—In the raised hands the fingers arc stretched
M3rut!-^Thc above hand made obhquc
Kubcrl—All fingers arc contracted (in the above hand )
If5nl—In the above hand the three middle fingers are stretched
Brahman—Padma Mudr5
Anantabhoga—the Eiood of the serpent
Vajra —In the description of this Mudra Che reading in the first Jioe seems
to be corrupt From the rcmaimngtwo Unes^ we can gather the meaning
as follows ---
The SIX fingers other than two Tarjanls are to be contracted and
each Tarjanl to be placed on its own thumb with the tips of these two
TarjanTs clasping the tips of some two thjngs mentioned in the first
hne
Dapda—The two arms and the hands to be stretched
Khadga—Two thumbs are bent so as to be tn the middle of the two small
fingers and two ring-fingers The four fingers arc spread in such a
way as to make a pair
Patska Prasjta kara—Give the left Tarjanl a circular shape, place it on the
thumb and then m the cavity (lit mouth) so foimed, place the right
Tarjani then make it curve and suctch the three left fingers, then make
a fist of the left hand and raise the thumb and clasp it with the other
thumb
GadS^ Mudra—Make the hand oblique, bend the four fingers and stretch
the thumb
giila Mudra—^The two hands are joined to each other so that the Kaoijlhiki
and the thumb are joined, and then the pair is stretched
Dravyar0p3— The hand should be stretched and given the shape of Svasti
f c blessing or a Svastika shape The tips of the two stretched fingers
I From £lokas 32 to 3^, it is roi dwTvhcihcr two Mudrds namely P^tUa Prasrta kari
tiadl Mudri arc desenhed orwheOicr all the ticka? describe 6nly Gad5 Mvdra
KRTTASUTRA 83
of each hand should be placed m the middle The two tarjanis should
be contracted and placed on the back of the two MadhyamSs
This should be used to indicate the soul
Vaijnavi—^The two hands lying on the back and the six fingers mentioned
in the above Mudra joined properly m an even way
Ghfta Mudra—The two taijanls contracted and placed on the back of
the Madhyama and the two thumbs placed on the Kam^thiki
Gandha Mudra—^The left hand lying on the back and the nght hand down¬
wards and the curved Madhyama and Ananuka placed on the thumbs
and two Madhyamas covenng the Tarjanl and Kaniyaka
Puspa Mudra—^This is the second Dravya Mudra The four fingers to be
placed contracted, the two Madhyamas to be stretched and the two
Tarjams to be placed on the two thumbs
Dhupa Mudra—^Two hands lying on the back and the six fingers contracted
and the Tarjam stretched with their tips touching each other, the
thumbs touching the roots of Tarjam
Dipa Mudra—The four fingers—the Tarjam with the Tarjanl, Kan!>asi
With KamyasI—raised so as to touch the backs of one another, with the
thumbs raised
Nawedya Mudra—The fingers of both the hands are raised m such a way
that their backs touch one another and all join at the tip of the thumbs
Puspa Mudra—All the fingers arc closely set and then cur\ed
Maha Mudra—^The two thumbs are brought together on one side, so also
the Anamika and the KanivasTv und two Madh^’amSs arc contracted
and placed on the back of the Ananuka, and the Tarjanl is m\ested on
the Madhyaml
AmiH—The Anlmika and the NfidhjamS fingers arc intertwined with each
other and then the tips of the middle ard the two tarjanis arc joined
and the Up of the Kanijthtki is joined to the tip of Andmikd and two
thumbs arc h^lf raised
Cmdi'i—In anjili the nrjanl is bent
Asin Mut’rd—Compact fingers in the Padma hand
S^djojitn—Thc right hand should be formed into a fist and the thumb
should be raised and placed on tie left thumb and the fist of the nght
hard should be wrapped b> th; fneen of the left
\ dradeva—The ab'^sc in the resers* posiuon
VISSl^DBtAtlMOtrAnA
Aghora FttMmg the hand3> the left An^mika n taken to the right and the
middle 13 contracted then the thumbs arc CDntracicd and the vholc
IS given the form of a ^Qla and then it 15 turned round over the chest
Vajra—The two hands lying on the back and luo An5mikas curved, and on
them arc placed t\^o thumbs and two curved tarjanTs and then MadhyJ*
AnJma. and Kanijthl together arc placed on one side
liana—Kani^^ha and AnSmika should be intcrUvincd together and <aii>cd
inside and the remaining should be extended
Vyoman—Curve the two tarjanis and place the KantyasI in the middle of
the hand m such a way that its nails touch it, (this should be done m
the case of both the hands ), then the four fmgersof the two hands should
be raised on the back of these and the thumbs should be arranged on
one side so as to make the shape of a Nala
Sarvatmanah—Forming the fist of the left hand, the tarjani should be
extended and should be held by the right fist
Siva—In the left fist, the right thumb should be inserted and the fingers
should be placed on the back
Sikha—All the fingers should be rounded and hidden in the palm as if
lying inside and the middle one should be stretched
Pingala or according to A -B Mss Mangala—Three fingers of the left hand
should be made oblique and KaniyUSi should be placed on them acd
all the four fingers should hang downwards and the right thumb should
be placed on them
Asra—Anamika m the abo\e pose
G&yatrl— ^The two hands lying on Che back at one place and so also the
fingers
5akti—In the fist of the one hand the fingers arc extended one by one, i e ,
beginning with the KanisjhS and ending vith the TarjanI
NajnaslcSra—Aiijali is placed on the chest
Dhvaja—The tarjani from the Kapittha hand should be grasped by the
Sikhara hand
SaSakarni—Two wrists pressing each other with the hands iymg on the
back and the fingers moving with the two Tarjanis joined to the thumb
Mukula—Folding the two hands in a hemisphencat form with slightly
bent fingers
Paokaja—The above stretched
AvJShinr—The two hands Jymg on the back and nioting and the bent
thumbs put in the middle of the hands
STUTASUrbA SS
Nisthura—The two thumbs curved and wrapped with their own fingers and
two hands facing each other
Linga Mudra—The raised right thumb should be wrapped with the left
thumb and the fingers of the nght should wrap the left
Visaqana—^The AiSvarya Mudra with the thumb moving circularly
Bhaga Mudra—Joining the two vitastis
Linga Mudra—The bhagamudra rubbed by mujli is LmgamudrS *
Jima Mudra—^After Sandasta pose is made, the two lips should rub to it
Kainnl Mudra—First the Karapallava pose should be formed by
stretching the two arms curving theu: foreparts and the tips should be
half bent Then the taqam should be bent and placed on the thumb
The two arms should be separately made Nikubja* i e contracted
Its presiding deity is Surya
ViSva Mudra—^Two Padma hands should be so brought together that their
middle fingers become clasped, and then the whole should be held
by a finger
(The interpretation of the last hne is not satisfactory)
Vj oma—The two hands should face each other and then their fingers should
clasp one another in such a way that the Kamstha—and the tw o taijanis
should hold the Madhyama Then this pose may be placed over the
chest or over the head or over the i^tkhabandha ( a tuft of hair)
Astra—^A fist ( MusJi) pose should be raised and one should beat the middle
of the hand with tai^ani so as to make a sound
Netrapradarsita—The Madhyama and the Tarjani of the left hand should
b? rats^ and Kaniftba, Anamtka and tkn ibnmb sbnnJd be made
crooked This Mudra indicates the coming of the cows and the bulb
Sarvasakti—(Nine Saktis)—Dipta, Suk^ma, Ja>a Bhidra, Vibhuti,
Vimala, Amogha, Vidyuta and Sanatomukhi
The two hands should lie on the back and all the fingers should be
curved and the thumb should be placed on them and moved again
and again
Namaskara—^Thc hands facing and clinging each other and extended
Ravi—The SafidaiHia form with An'imikS
• The reading mvijub rramloiU « emended into mtut'pramirjitJ
2 The reading NiKub;a, however, u noi rjulte satufaetory If we can emend the reaJng ef
Mi C Tnkuithau Hto Trilifl',au, it will sgree wUh the v'crb Badhai^it t‘'en the mea-ng would
be • the two arm ihovld be iet*anied *o at to gne nie to three e’eva'iora'
VISNUl&KArMomRA
Soma-^Tlic SaAdaMi forra with Madhyanlil
Bhauma—^Thc SandaASa form with AtiSmika (7)
Dud ha—^The SaAdaAsa form with KanlyasI
Jiva—At the root of KanlyasI
Sukra—At the root of Aniraika
^ani—Thumb at the root of MadhyamS
Rahu—The thumb at the root of Tarjani
—hy moving the TarjanI in the above Mudra
Krodha—SiLhara form with the left hand
Varaha—The two hands should be given a hemisphencal form and the
left hand should be raised
Bhairavi—^The two hands arc wrapped in such a way that the right is wrap¬
ped by the left
Pataiabhanjini—The two hands turned downwards and so also the eve-
Sight
Stambham—Kapittha form with long (ie extended) Anamika
Krodhini—The desCTiptton is missmg (The descnption in the following
Madras is not quite clear The meamng of the different words m
them do not seem to have any significance as such I, thcrcforCj
Separate the words into syllables and regard them as suggesting the
syllable mudras described in the beginning of the Adhyaya 32, Rahasya
Mudra, but I am not sure, if I am correct Therefore, I give the
following account v/ith great hesitation)
The sense may be The Mudras of Ka and Ra should be repeated
with the mudras of letters Eva placed between them
Bija Mudra—Take the mudras of Sa and Ha and divide it by Kha and Ta
and join it with Eva
Dhair-tvi—The above joined with Eva
Stambhani—Kja and Tra Mudra should be joined with the middle of
I and Ra and to be covered by Eva
Vdrahi—La and Sa mudras repeated with Ca E, Ka and joined to Eva
P It ilabhanjani—Ja and Na mudras repealed with E and Sa (or Va}
^lAkha—On the back of the iiand, Tananl Madhyamii and AnimikS meet
the middle joints at their backs
Cakfa—Ail the fingers arc extended and meet at the back
Susira—The Musti pose to be placed on the waist
NPlTASUTflA
87
Gada Mudra—The same as abo\c
Kaustubha—^The hands facing each other and the fingers wrapping one
another \Mth the thumbs
Vanamala—^Vahni Mudra of the left hand and the Sikhara mudra of the
right hand touch each other
Narasimhi—^The first two lines describing this Mudra are not clear The
meaning probably is that the t\vo hands form into Dravya pose and
part of the Mudra is placed upon the thigli ( Janghl) and a part of it
on the Cibuka (chin) and the mouth opened with the shining
tongue as if licking
Hm Mudra—The thumb should be grasped by the fist
Sik§a Mudra—forming a fist make the tip of the thumb oblique The
Tarjani touching the Musp
Kavaca—^Two fists joined at the end of Tarjanis
Gada—^Two hands forming fists and joined at the fingers (of both the
hands)
Netra Mudra—Tarjani and the Angustha should meet at the end and the
remaining fingers should be extended
AsvaSiras—^The Anamika should be cur\ed and should be placed on the
le\el with Tarjanis and the two Madhyamas should be raised and the
two thumbs joined together
Pramada—^The Anjah pose placed oser the chest moving quickly from
one side to the other in the nght direction used in salutation The
meaning is conjectural
Vasudesa—The left fist with the thumb raised and the nght fiit with the
thumb tightening it and then bnnging the two thumbs into contact
and then raised
Safikar^aija—^In both the hands, the small finger and the thumb hidden and
the other fingers jomed and extended
Pnd>’umna—The taijanis arc raised and joined and the thumbs in their
c\en positions joined
Aniruddha—^The fingers should be curved and given the shape of a SDrpa
and then the two thumbs below enwrap it
Tlius the second line of the \ersc 123 tells us that the 126 Mudrahastas are
mentioned bj name Those desiring the highest siddhi should show these hfudras
in accordance with the Mantra, the Deva and the Vidhi Tb'* meaning seems to
be that the MudrJs should have relations to a dcii>, the spell and the ctremonj
Tlic same idea is made clear in the next \^rc The pods ate related to the
visnudharmottara
es
5pclls (Mantras) therefore the various MudrSs described •above should be
practised after knowing the mantra or the spell
The Iasi verse of this AdhySya slates that all that is described so far con
stitutes the NrttaSastra and that it is described bnelly When described w
detail It will lia\e great meaning and will be most important thing in the world
Satnanyabhina} a
Adhyaya 28 gives instructions about acting m general In fact, this
Adhy3ya repeats some of the things described before and also gives some new
matter of a general and miscellaneous character'
The first four verses give instructions about the acting for the five qualities of
senses namely, Sound, touch, form taste and smell The general instruction is
that these qualities arc to be acted by their Anubhavas or natural expressions
The sound (£abda)—The eye should be turned aside and head should be
slightly bent and the larjam should be placed on the ear
The smell (Gandha)—The eyes should be shgbtjy contracted and the
nostrils should be blown and a single breath should be taken *
These qualities are cither pleasant^ unpleasant or neutral
Pleasure should be shown by joyous movements of the limbs, by the bnst
ling of the hair and profuse tears
In unpleasant quality the head is turned away so also the eye and both
the eye and the nose are contracted
In Neutral quahty actions are neutral
What refers to one’s own expenence is called Atmastha and what describes
Other people’s actions is called Parastha
This refers to modes of sjpecch according to NS which gives seven such
modes (NS , (CS S) Adhyaya 24, ^lokas 57, 58, Adhyaya 22 ^loka 57 in N
SSgara)
The subject matter that follows according to N S is known aS Citr2
bbinaya Citrabhinaya is ahg3bhinaya but with some speciaLty it is not described
m angabhinaya section •
1 The subject matter of this AtihySya is to be found m AdhySyas 24 and 26 of N S (CS S) and
AdhySyas22 3Bd25 ofNS (N Sagara)
2 Other senses are nol desenbed Vxy ore discussed »n N $ Adhyiya 22 of N Sagara editioa
{!oka 75 onwards
It may be that the versts dcscnbing these might have been dropped m our Mss
513^ ti aw
< nr, !5ir ■—)
NRTTASUTRA
89
The hands are lying on the back ( Uttana) and given a Svastika form
remaining at the sides The head is raised up and eyes looking up This pose
would indicate morning, sky, night, evening, day, seasons, deep darkness, and
wide water reservoirs, directions, planets with constellations and whatever refers
to the sky la acting all these, one must use appropriate eye gestures With
the above hands and corresponding chest and head postures and by looking down
one should show objects lying down
The moon, the moonlight, happiness and the wind should be acted by touch
gesture (SparSablimaya )
The sun, the dust, the smoke and the fire should be suggested by covering
the face
The heat and the burning of feet on account of hot ground should be
indicated by the seeking of the shade The mid-day sun should be indicated by
the raising of the head and oblique look The sunnse and the sunset should be
shown by an astonished look The moon and the stars also should be indicated
by the same look
Happiness should be indicated by touching the limbs but should not in¬
dicate Romanca Unhappiness should be indicated by distress and wrinkles of
the face
Senous, high and excellent things should be indicated by proud, arrogant
Of’ fine movement of the limbs ^
The Aralahasta should be used to indicate the part of the chest covered by
Tajhoravita The same should be used to indicate a neckhce or a garland or
sny other stnng
Tlic idea that the everything or the whole is understood can be indicated
by revolving the PradeJim finger and also the cje-sight and by pressing the
Alapadma pose.
The objects to be heard should be indicated by contacting the ear and the
object to be seen by appropmte looks This might refer to oneself to others
or to something which docs not belong to anybody
Lightening, the falling of meteors, thunder and flames should be indicated
by drooping limbs and by the winking of the eyes
The keeping off a bee, etc, should be indicated bv covenng the face The
hands in the Svastika and the Padmakoki forms should hang down to indicate
a hon, a bear, a monkey etc
• The sec«r4 line l)crc of J8 is irussirg
meaning w<^uld not be coTip’ete
^ 12
So It IS toVen f om N S without wtiiJi, the
90
VlSNUDIIARkfOTTARA
The Svastjka and TripatakS hands should be used in bowing at the feet
of elders
The KhatakS and the Svastika forms should be used in indicating a whip
The numbers one to ten should be indicated by lingers, beyond that, the numbers
ten, hundred and other places of ten should be indicated by PatakS Hasta or can
ht indicated by words
An timbreUai a flag and ^ banner should be indicated by holding of tbc
staff Various sorts of capons should be indicated by the modes of holding
them
Concentration of mind should be shown by looking doxvn and slightly
bending the head
The left hand m Saftdan^a pose should be used to indicate smile^ meditation
or guessing
In indicating a child, make the head udv5hita keeping Hamsapakja to the
right and stand erect
The Arala hand pose moved towards left and brought near the head
This should be used when one is going away, returning, disappeanitg, tired or
hearing some sentence
The autumn (Sarad) can be shown by differertt kmds of flo^^e^s by self
possession and cheerful expressions
The persons of low and middle class should indicate Hemarta by the
trembling of limbs and by seeking fire
The persons of low class should indicate cold by shivering of heads, teeth
and lips and by the contraction of the Lmbs as well as by uttering Sit
The 6iiira should be shown by the acting of cold ( Sta) qn the part of
higher and middle cKss i>eople who have become poor
The acting of spnng can be done by the showing of the different kinds of
flowers, by the efforts to please the beloved and eagerness for enjoyment
The summer season can be shown by wiping olf the sweat stumbling on the
ground, by fanning and by the gesture of touch of hot wind
The PrdVffabhiiiaya can be ^hown by the gesture of listening some deep
sound
The happy condition and the unhappy condition m the different seasons
c in the company of or separation from the beloved) can be shown by words
l!V showing one’s own natural position men should adopt the Vai5na\a
sthana, while women should adopt Ayata and Avahittha sthanas
The behaviour of men should be expressed through Angaharas of firm
character, while that of wotnen through angahSr^s of delicate character
KRTTAStJtRA
91
The embrace should be accompanied with a smile and the bnsthng of hair
The bristling of hair indicates joy Anger would be suggested by upturned eyes
Anger due to jealousy should be shown by the throwing away of ornaments and
garlands and also by the shaking of the head and by heart breaking gestures
A man would indicate unhappiness by sighing and looking down and by
the striking the ground and the hands, and women by crying
Rudita ( crying) would be both due to joy and pain It can be sho\vn
by a happy or unhappy face
Fear m case of men should be indicated by confusion and agitation, and in
case of women by searching for a protector, loud crying and embracing a man
One can indicate by moving the fingers of the Tripataka hands, small birds
like parrots and Sankas and big birds hke peacocks, cranes, swans etc by the
two kinds of Paksangafaaras
Bhutas Pisacas Yak|as, Danavas and Raksasas should be shown by
appropriate angaharas and those who are not visible should be acted, as if they
are visible, by agitation and wonder The presence of Gods should be indicated
by bowing while absence by their symbols and beautiful imitations
Raising the left hand m Arala pose and making it touch the head indicates
bowing to men, while Kapota hand indicates bowing to women One should
indicate eminent men, friends, vitas, and Dhurtas by Parimandala Hasta
Mountains and tall trees should be indicated by stretched and raised hands as if
^Omg to reach a high object
A multitude of men and big army should be shown by the raised Pataka
hands
Touching the forehead Saurya (valour), Dhairya (gravity), Darpa
( Pndc ), arrogance ( Garva ), generosity ( Audarja) and loftiness ( ucchrSya ) can
be shown by the ArMa hand
Two Mfgaiirsa hands should be turned away from the region of the chest
and quickly stretched and thrown up to indicate an enclosed object One hand
should be somewhat stretched in such a way that the palm is downwards to in¬
dicate darkness, cntr> into a hole or a house or a ca\c
Persons suffering from lo\c, fever, or those whose minds arc overpowered
b) some curse should be indicated by high breathing and shivering
A swing should be visibly indicated b> oscillation
Akikivacam—Addressing somebody who is not present on the stage
Janantika—'Words not heard bj others
Apavlntaka—Words whispered in the ears.
92
VISN UD J lARMOTTA RA
Jan5ntika and ApavSntaka should be shown by inicrpostng the TnpataU
hand
In dream speech, the words should be indistinct
In the speech of the aged, the syllables should be uttered faltcringly and
indistinctly
The speech of children, should be uttered with a chaining voice tn which
the syllables arc incompletely uttered
The words of a sick person should be uttered in a feeble tone and accom¬
panied by protracted breaths
The moment of death should be indicated by protracted breathing
Death should be shown by the motionlessness of limbs
Rasas and Sthayibhasas
The acting of the various Rasas and Bhavas by appropriate gestures is
described in Adhyayas 30, 31 It will be convenient to discuss the same in this
section, in order to complete the treatment of the subject, postponing the con¬
sideration of rasas, as such to a subsequent chapter I take up first the gestures
of the rasas and their sthayibhavas
Srngara—Srngara is of two types—Sambhoga and Vipralambha
Rati is to be shown by sweet and beautiful speech and gestures ( Adhyaya
31 Sloka 3)
Vipralambha is to be shown by c’dnbitiug gestures appropriate to Nineda
It principally consists ifl heaving sighs
Hasya—Is of two types—(i ) Laughing oneself ( Atmastha ) or (ii) making
other people laugh ( Parastha )
The characteristics oF laughter depend also upon the character of persons
( I) Persons of Uttama (superior) type laugh with line glances m such a way
tliat their cheeks move slightly but without the exhibition of teeth . It is Known
as Smita or smile ( 2 ) In the case of madhya (middle ) type of people, teeth are
exhibited while (3) in the case adhama (low) type of people, the laughter
would be accompanied by tears and noise
Laughter is created by the behaviour of others and it is acted vsith smita,
Hasa and Atihasita
Vira’—It IS to be acted through gestures appropriate to a man of energy
and resolution especially free from negligence
1 The pin of ihe dealing siith Vira is inissins m our Mss The \erses put m our le’tl
from N S (AdhjSya 6 iloka 68 69 of N Sagara cdiUon)
NRTTASUTRA 93
Raudra—Is indicated by red eyes, frotvn, angry words, fighting and use of
weapons
Karuna—Is acted by drooping limbs, sighs, weeping, crying, paleness of
face and dryness of mouth
Adbhhta—Is to be shown by the throbbing of eyes, the bristling of hair
and the whirhng of fingers and perspiration
When one has accomphshed some superior thing, it is indicated by a
smile
Bibhatsa—^Is shown bj contracting the nostrils and agitation of mind
Bhayanaka—The portion of the text descnbing Bhayanaka Rasa is missing
in our text
^Bhayanaka is indicated by agitation, trembling of limbs, face
and eyes, by the stupefacation of the thighs, by the drying up of the
mouth, by the throbbing of the heart and by horripilation
Santa—Is to be indicated by the adoption of the insignia of ascetics and
compassion on all bemes and meditation
Sancaribharas
Nirveda—Indicated by sighs
Glam—Indicated by slow movement, trembling and leanness
Sanka—By hiding and looking about
Asu>a—By belittling the ments of others
Mada—the intoxication of the supenor people is indicated by the whirhng
of eye only, of middle type people by incoherent talk and of low type
people by falhng down and walking disjointedly
Srama—By massaging the limbs, high breath and yawming
Alasya—By lying on beds and seats
Damya—^The line descnbing the Abhinaya of Dainya is missing in our text *
Cinta—^The line describing Cinta is missing in our text but its gesture is
described by exhibiting doubts of heart
Moha—^To be indicated by the stupefaction of all the senses
Smjti—^To be indicated by raising of an ejebrow
Dhrti—^To be indicated by enjoying what one has and not canng for what
one docs not possess
t The dcscnption gu-cn here ts from N S Adhyi>'3 6 sloia 70 71 N Sigara edition
2 According to N S (C S S ) « is to be acted by the absence of cleanlmcss of all kinds.
VISNUMURMdTTAftA
Kn^a—Is to be shown by krltjana le playing
Vri^a—To be shown by looking down and by scralchjng the ground
Capalai5—To be indicated by actions unaccompanied by thoughts
Har^a—^To be indicated by cheerfulness of expression the bristling of hair
mid perspiration
Avega —To be indicated by the interjection Ah
^nd Gatva—The descriptions of and Garva—which should
be described here according to traditional order arc missing in our
text
JadatS—Is indicated by silence and stupefied look
Garva—Should be indicated by contempt and insult of others and harsh
speech
Visada—^To be ind cafed by pretended sleep and sighs
Aut^ukya—Should be indicated by sloth heaviness of limbs and falling m
reflection
Ntdra—To be indicated by rubbing the eyes yawning and heaviness of
hmbs
Apasmara— To be indicated by stupefaction of consciousness
Supta—^To be indicated by sleeping
Bodha or Vibodha—to be indicated by yawning at the end of sleep
Amai^a—^Ey the shaking of the head
Avahitlha—By conceal ng all the limbs
Ugrau—By rebuking violently
Mati—By teaching
Vyadht—By the gestures of Glam
f.dehnum V—bY improper beha\iour and Ulk
Marana—By stupefaction of senses
Trusa—By the contraction and trembling of limbs etc
Sai^deha—^ c Vitarka to be indicated by the movement of the brows
The anger due to offence should be indicated by the gestures
appropriate to Krodtia Similarly the fear due to AparatJha ( offence}
should be shown by gestures appropriate to Bhaya (fear)
SntlTika Bhaias
Rotnaiica—Is not defined (in the text) but its usage is given es under —
nrttasutra 95
It js used to indicate joy due to accomplishment of one’s desire
and also cold, anger, fatigue and fear
Svarabheda—is used for fear, harshness
Aim—IS used to indicate joy, sorrow and weeping
Vaivarpya—to be indicated by change of colour It is said to be difficult
to act and therefore should be accomplished with effort
In Adhyaya 20 Sloka 19 —the following five Sattvikabha\as are mentioned
i/r Asruprapata, Romanca, Sveda, Spandara and Varnavmyasa
Here it mentions only four*
The tradition about the fourfold acting is followed m our text also Of
the four, the Angikabhinaya and the Saftvjkabhinaya have been discussed in the
previous paragraphs
The VScika is referred to only in half a line ns one which is accomplished
through speech
Aharyabhinaya
A whole of 27 adhyaya is devoted to Aharyabhinaya * One may say that
this Adhyaya is a sort of transition adhyaya from Nrtta and Natya to Citra be¬
cause m dance and drama, the actors have to personify characters, and so they
have to present themselves in the colour and garb of the imaginary characters
(I have relegated the discussion about colours to the corresponding chapter of
Citrasutra )
Four kinds of Aharyabhinaya are mentioned—Pusta, Alamkara, Anga-
racana and Sanjiva
N S defines the Aharyabhinaya as nepathyo vidhih i e ‘ dressing up the
actor for his character role ’ It desenbes and classifies them into four kinds as
above
Pusta—Imitative forms made with clay, wood, cloth, leather and iron are
called Pusta The masks (Pratisirsa) of gods, demons, Yakjas, elephants,
horses, deer and birds are made by Pusta technique
Alamkara—consists of garlands, ornaments and graments
Angaracana—It is the dressing up of the different parts of the body in
accordance with the caste, position, superiority and the country of the character
*o be presented
* This means that the portion of the text descnbms the remaining Sattvikabhavas is inissmg
2 The corresponding subject matter is to be found in N S Adhyaya 21 of N Sagara and
Adhyaya 23 of C S S
94
VlSNUDIlAltKfOITARA
Kruja—Is to be shown by krl^ana ie playing
Vndj—To be shown by looking down and by scratching the ground
Capalata—To be indicated by actions unaccompanied by thoughts
Har$a—To be indicated by cheerfulness of expression the bristling of hair
and perspiration
A\ega—^To be indicated by the interjection Ah
Janata and Garva-—The descriptions of Jadall and Garva—which should
be described here according to traditional order are missing In otir
text
Jadata—Is indicated by silence and stupefied look
Garva—Should be indicated by contempt and insult of others and harsh
speech
Visada™To be indicated by pretended sleep and sighs
Auisnkya—^Sboviid be indicated by sloth heaviness of limbs and failing ift
reflection
Nidra—To be indicated by rubbing the eyes yawning and heaviness of
limbs
Apasmara—To be indicated by stupefaction of consciousness
Supta—To be indicated by sleeping
Sodha or Vibodha—^to be indicated by yawning at the end of sleep
Amarja—By the shaking of the head
Atahittha—By concealing all the hmbs
Ugran—By rebuking violently
Mati—By teaching
Vyadhi—By the gestures of Glam
UtiKiida—f —by improper behaviour and talk
Marana—^By stupefaction of senses
Trasa—By the contraction and trembling of hmbs etc
Sandeha —ic Vitarka to be indicated by the movement of the brows
The anger due to ofTcncc should be indicated by the gestures
appropriate to Krodha Similarly the fear due to Aparadha ( offence J
should be shown by gestures appropriate to Bhaya (fear)
Satlvika Bhavas
RomJdca—Is not defined (m the text) but its usage is given asunder—
NKTTASUTRA 95
It IS used to indicate joy due to accomplishment of one’s desire
and also cold, anger, fatigue and fear
Svarabheda—is used for fear, harshness
Airu~js used to indicate joy, sorrow and weeping
Vaivaroya—to be indicated by change of colour It is said to be difficult
to act and therefore should be accomplished with effort
In Adhyaya 20 Sloka 19—the following five Sattvikabhavas are mentioned
vir Asniprapata, Romanca, Sveda, Spandana and Varnavinyasa
Here it mentions only four ^
The tradition about the fourfold acting is followed m our text also Of
the four, the Angikabhinaya and the Sattvikabhinaya have been discussed m the
previous paragraphs
The Vacika is referred to only in half a line as one which is accomplished
through speech
Aharyabhinaya
A whole of 27 adhyaya is devoted to Aharyabhinaya * One may say that
this Adhyaya is a sort of transition adhyaya from Nrtta and Natya to Citra be¬
cause in dance and drama, the actors have to personify characters, and so they
have to present themselves in the colour and garb of the imaginary characters
(I have relegated the discussion about colours to the corresponding chapter of
Citrasutra )
Four kinds of Aharyabhinaya are mentioned—Pusta, Alamkara, Anga-
racana and Sanjiva
N S defines the AhSryabhmaya as nepathyo vidhih r e ‘ dressing up the
actor for his character role' It describes and classifies them into four kinds as
above
Pusta—Imitative forms made with clay, wood, cloth leather and iron are
called Pusta The masks (Pratisiria) of gods, demons, Yaksas, elephants
horses, deer and birds are made by Pusta technique
Alamkara—consists of garlands, ornaments and graments
Afigaracana—It is the dressing up of the different parts of the body m
accordance with the caste, position, superiority and the country of the charactr
to be presented
> means that the portion cf the text desenbrng the remaining S3ttvifcabb5vas is m
The corresponding subject matter is to be found m N S Adhvava ai r
Adhyaya 23 of C S S «anyaya 21 of N Sagara and
96
VlSNUDIIARMOlTAKA
Aftgaracana consists m punting the body with djflerent colours' After
describing colours, their nuxtureSj and various colours (o be gnen to the skins
Our text proceeds to describe the colours of various gods and types of men
In the case of gods it is siid that when no particular colour is indicated,
It should be gi\en Gaura colour Vasuki should be given Syama colour while
the other serpents should be gi\cn Gaura colour The Daft>as, Dlnavas,
Raksasas and the followers of Kubera and PiSicas should have the colour of
water Men in the six Dvipas should ha\e the colour of gold but in the case
of Bhirata Varsa they must have the colour of the country of their birth Thus
Puhndas and Ddk^inatjas (Southerners) arc generally Asita (dark) YavanSs,
Palhavas, Balhikas and people living m Utiarapatha (region north to the Vin*
dhyas ) should be generally of Gaura colour Pancalas, Surasenas, MagadhSs,
Angas Vangas and Kalmgas have generally Asita colour
Brahmins should ha\e the colour of the moon, while K?atnyas the colour
of the lotus The Vaisyas should be whitish (Apan^u) and the 5udras (dark)
^yaina
The Gandhar^as and Apsarases ha\e \anous colours
Kings and happy people should ha\c the colour of lotus
Men of e\il actions, persons o\erpowered by bad planetary influences,
sickly people and those practising penance and blacksmiths and persons belong*"
ins to the Kwlas { of different professions ) should be of Asita colour The colour
of SL person seen in presence should be according to Jus own natural colour.
There should be no moustaches and beards m the case of Devas, Gandhavas,
Siddhas and those who ha\e taken a certain vow should have no hair on their
face (SmaSru)
The divine beings Vidyadharas, lovers and kings should have a fine
moustache and beard
The Smasru ( beard ) of asceUcs, ministers, purohitas, judges and persons
under some vow should ha\e Buddha smasru meaning probably white or un
coloured
The Smairu of those, whose vows arc not fulfilled and of unhappy people,
of Tapasws and sages should be long
The dress of persons engaged in religious acuvity should be pure / e white
So also of merchants, Karicukis and Brahmins
The dress of kings should be of vanegated colours so also of courtesans
The dress of others should be according to the sex and as current in society
See Adli^aya 45 of CiirvsflWi
MITTASUTRA
97
Mukuta—^Three types of head-gears (Mukuta) are given Gods and
kings should v ear Kinjakas i e crowns The crowns of gods should have seven
crests, of kings fi\c, of principal queen and crown prince three, and of the com-
mander-in-chicf one
Daityas and Daua\as, Yaksas, Pannagas and Rakiasas should co\er their
heads with turbans of one PatJa, while the turbans of Vidyadfaaras, Siddhas and
Vanaras should have knots
Devas, Danavas and Gandharvas should have black pakjas' { flaps)
The Snia^ru and the hair of Daityas, Danavas, Yaksas, Pi§acas, Nagas and
Ralsasds should be green and their eyes should be tawny The hair of the
Kancukis should be white
The masks of Ministers, Kancukis and supenor purohitas should be tur-
baned
The heads of Pisacas, lunatics, ascetics, and those who have not fulfilled
their vow should have ’one hair
The heads of children should be adorned with Sikhandakas—tufts of hair
Munis should have Jatas (matted locks of hair) on their heads The Cejas
should have three tufts of hair on their heads and Vidusaka should have bald
head or only Kakapada Others should wear hair according to their castes
Sanjiva—The entrance of animals on the stage is called Sanjiva Men
should wear masks of various animals so also, the symbols of gods carrying
vanous weapons should be represented by masks
In short, one should make various accessories useful for drama by one's
own intelligence according to the customs current in a society
One should not discharge weapons on the stage
TYe su’ojEct matter o'? l^rVia^fatTa rs iiscostied al 'lengtVi m our wofk pre¬
sumably for its own importance as well as for its importance in the subject-matter
of citrasutra
Before we end this section, it may be noted that the treatment of the art
of dancing including acting comes between poetry and music on one side and
painting, sculpture and architecture on the other This agrees very well with the
modem division* of arts into tune arts, space arts and space-time arts The
first including poetry and music, the second painting, sculpture and architecture
and the third dancing Thus dancing being a space-time art is appropriately
placed by V D between time arts and space arts
1 TJie reading Kijijapaksah is doubiru!
2 See Encyclopaedia Britarucca—11 th edition No 10 pp 355 to 374
RASAS
After having considered Kavya, Natya and Nftya it wiU now be appropriate
to discuss Rasas and Bhivas as also their relation to these arts
Adhi^yas 30 and 31 arc respectively called Rasadhyayis and BhavJdhyjyas
ISumber of Rasas—
As V.C have seen in the preceding sections much of the material pertaining
to Rasas and Bba^as i$ simiJar to what is found in N S Adhyayas 6 and 7 In
N S we find two traditions about the number of recognised rasas According
to one there arc only eight N ityarasas, v^hlIe according to the other there are
nine, the controversy being about the recognition of Santa as a Rasa
Our text throughout recognises nine nsas —
These arc HJsya Sfngara, Karuna, Vira, Raudra Bhayanaka Bibhatsa,
Adbhuta and 5 inta Our text says that *?anla is an independent and a separate
Rasa (Santo rasah svatantro ira pphageva vya\sthitah) while Hasya resuhs
from Sfngara, Karuna from Raudra, Adbhuta from Vira and Bhayanaka from
Bibhatsa * The meaning seems to be that Spigara, Raudra, Vira and Bibhatsa
are independent Rasas and the other four are dependent upon them Thus
according to our text there are five independent Rasas and four dependent rasas
The colours® of these rasas arc also mentioned
The colours of Rasas
The colour of the Santa is the natural colour < Svabhava Vatna) of firngaca
Sjama of Raudra Rakta (red) of Hasya Sita (white) BhaySnaka Krjna
(black) and Vira Gaura (reddish white )>. Adbhuta pita (yellow) and Kanina
Kapota (colour of a pigeon ) and Bibhatsa Nila (Indigo colour)
It might seem a little queer that rasas should have their resiiectwe colours
The explanation is to be found m the fact that Rasas were to be indicated m
painting and also m the make up of characters on the stage Therefore a coo
vention about the relation of Vamas and rasas had to be established
Deities of Rasas
The rasas have their presiding deities® also Pramatha is the deity of
Hasya, Vijnu of Raudra, Yama of Kanipa, Maliakala of
1 compare N S Ad VI SJo 40 (N SSgara)
2 Colours—agree with N S
3 Denies—agree with NS
RASAS 99
BJbhatsa, KdJa of Bhayanaka, Mahendra of Vita, Brahma of Adbhuta and
Parah purusah-supreme soul—the deity of Santa ^
Rasas with their sthajins—
After this our text proceeds to describe how the different rasas are pro¬
duced (samutpattih) —
Santa—is produced out of Vairagya te renunciation Renunciation is
indicated by the dress of a particular religious order ( Lingagrahanat),
and by mercy towards all creatures, meditation, the preaching of the
path of salvation and unconcern for happiness and misery, absence
of hatred and pride, and equanimity towards all creatures {samah
sarvesu bhutesu)
Hasya—is produced by inappropriate or incongruent talk and dress
Its sthayibhava Hasa is described as resulting from the imitation
of the behaviour of others ( paracestanukaranam )
Sfngara—is of two types—
( 1) one—the result of Sambhoga—union and ( 2 ) the other the result
of Viraha-separation
The second \ariety is called Vipralarabha In this the feeling of
Nirveda is predommently expressed The ten Kamavastlias* or
stages of love also form part of Vipralambha These are (1 ) pleasure
at seeing each other (Caksuh prltih), (2) attachment of mind
(Manasasca Sangah), (3) constant remembering (Smaranam
Nirantaram ), ( 4 ) loss of sleep ( Nidrabhedah), ( 5 ) leanness of the
body (Tanuta), (6 ) turning away from sense pleasures ( Vyavrttir
vijayebhyah ), ( 7 ) disappearance of bashfulness ( LajjapranaSah ),
( 8 ) Insanity ( Unmadah), ( 9 ) swooning ( Murcha ) and ( 10 ) death
( Maranam)
The Sambhoga Smgara results from the union of lovers adorned
with garlands and fragrant anointment—lepana
Rati the sthayibhava of Srngara results from the satisfaction due
to the acquisition of the desired object
Karuna—results from sorrow (SoKa)' Soka, the sth'iyibhSva of Karuna
results from the separation of a beloved person or the loss of wealth
Raudra—results from anger ( Krodha) Krodha, the sthayifahlvajo
Raudra is a result of offence Offence is four-fold (Adhyaya 31
1 No deity IS gnen for Santa Rasa in N S » --
2 NS Adh>a>a XXlI ilokas 16t-63 {N SJgar) ' '
KlmasOtni of V2ts>5yma—Adhikaraua 5, Ad 1, Sfltras 4, 5 ( Chaukhamba S Senes ) ^
100
VISN UDI lARMOTTA RA
Sloka 40) and depsndent upon four causes ur (I} enemy (Rjpuja),
(2) ciders (Guruja), (3) scrvani (Ufafiyaja) and (4) love (Prana
jodbhava)
Bhayanaka—results from fear ( Dliaya) Dhaya, the sthayibhSva of Bhajri
Qaka results from an oITcncc commuted by orcsclf, (Ad-31 Slo 9)
Bibhalsa—results from disgust (Jugupsa) Jugupsa, tlic stha}ibb2v3 of
Bibhatsa results from llic SJglit of ugly things
Adbhuta—results from \^oi^dc^ (Aicarya) Vismaya, the slh5yibh5va of
Adbhuta results from joy at the accomplisliment of an extraordmarj
deed
Vira^—UtsSha, the sthSyibhi^a of Vira results from the resolution of w'lH
and clear perception
So far ttc ha\e considered the nine rasas wth their sthajibhiivas
Our text does not define the stbayibhava as such but it qualifies the word
rasa as sthayl (Rasah stha>i) and defines it as one Svhosc form is a resultant
of many Bhavas cohering together Cbah^i^ar|l samavetatiaip rupam jas>a
bhavetbahu Sa manta^'yo rasah The remaining Bhavas are called
Saficanns ( Se$hah Sancannah smrtati Adh>dya 31, slokas 53, 54 >
Sancarl
Now we consider %vhat are known as SaneSn bhivus —
Nirveda—results from poverty or the loss of a desired object
Glam—results from vomitting fatigxic austerity or asceticism (Vairag 3 a)
ganka—results when one is caught by thieves and the Lke
Asuya* —results from the offence of others
Mada—results from too much drinking
^riima—is due to exliertion or a long journey
Alasya.—is due to pregnancy, exhaustion, or attachment, or is a natunl
qualitj
Dainya—is the afflicuon of mind on account of a bad state of affairs
Qjita—results from loss of power, wealth etc
Moha—results when one cannot find a remedy in difficulties and troubles
Snifti—results from remerabenng former action
p)]ij*t;i^resuUs from the knowledge of the world
Krida—IS a joyful. lighthearted play
J Our text emits the desenpiLon of Vira
2 According to N S A5a>5 rtsuUs from seeing the good forlunc power mfell ccncc and prc»
penty «tc» of others as well as on account of the offtnccc omnutted by others (NS Ad ^
ilQ N S5^ar)
RASAS 101
Vrl^a—results from disobedience of the orders of the elders and by not
being able to do what has to be done
Capalata—is the trait of men acting thoughtlessly
Har§3—IS a result of the fulfilment of one’s desire
Avega—IS the result of confusion
Jadata—results from hearing good or bad news, disease etc
Garva—results from asu>a. etc
Vi^ada—results from frustration (Kaiyanasa)
Autsiikya—^results from anxiety
Nidra—results from keeping late hours at night, idleness or intoxication
Apasmlra—is due to the anger of gods
Suptatva—lesults from sleep
Bodha or Vibodha—results from waking up from sleep
Amarsa—^is the result of superior learning, bravery, wealth or power
Avahittha—is due to audacity ( DIiar§tya) and rougishness
Ugrata—is what is shown m such actions as robbery etc
Mati—IS a result of proficiercy in ^astras
Yjadhi—results from the disturbance of the three Dhatus
Unmada—results fiom derangement of Dhatu of the body called Vayu
or from separation
Marana—results from disease or wounds
Trasa—results from terrific noises etc
Sandeha—results from thinking
Sattvika
Now we come to some of tlie Sattiikabhavas —
Romawca—is due to cold, anger fatigue and fear (Sitakrodha^rama*
bhayaih )
Siarabhcda—(Change of \oice) due to fear
Asru—results from sorrow or joy
Rasas and their Blia^as
After treating in the abo\e fashion the \arious Sthayi, Sancan and Satt\ika
Bhatas, our author proceeds with the discussion of the association of particular
Bha\as with particular Rasas* —
Hasja—the following Bhlvas can be associated with Hasja —
1 Accordipg to N S Armr?! results from being challenged in an assembly by persons who
possesa superior learning power and strength and is accompanied by rcsoJelion of wiU
(Ns Ad 7 Slo 48 N sugar)
2 N S Ad VII Verses 103 onwards N
102
VISN UDf f ARMom R A
GlJni, Sank,!, AbbyasOya, Srama, Cnpalaia, Romaflcoi Harja^ Nidrj,
(Jnmjch, Mada, Svcda and Avalutllia
Spngara—Cxccpling Alasya, Augrya and JugopsS, nil tfic 46 BhavaJ have
thetr place in this Rasa
Karuna—Hirveda, Cinl5, Dainya, Glam, Aim, Janata, Marai:ta and
Vy.ldhi have iheir place m Karupa
Raudra—^Asammoha, Utsaha, Avega, Mada, Krodha, Capalatd, Harfa
and Ugrata arc found m this rasa
Bibhatsa—Apasmara, Unmada, Vijada, Mada, Mflyu, Vyadhi and Bhaj'a
have their place m this Rasa
Adbliuta—Slimbha, Sveda, Moha, Romanca, Vismaya, Avega, Jai^atS,
Har^a and AsQiu. arc associated with this Rasa
Vira—Sveda, Vepathu, RomSfica, Matr, Ugratva, Amarja, Mada, Svara-
bheda, Krodha, Asiiyi, Dhiti, Garva and Vitarka have their place m
this Rasa
ClissjRcatioas of Rasas
Some of the Rasas are classified according to the instruments of their
expression is said to be of three types, expressed through speech (Vag),
get-up ( Nepathya ), and action ( Kriya ) Similarly Hasyi and Raudra are said
to be of tv o types as expressed through limbs (bodily gestures ) and get-up
In Adhyiya 29 Raudra is said to be of three types, as expressed through Anga,
SvabhSva and Nepathya (Slokas 11 to 14 )
Karuna is said to be of three types resulting from the Joss of religion
( Dbarma ), worldly good { Artlia ) of relatives Vira is supposed to be of three
tJTies as expressed through fight (yuddha ), mercy (Daya ) and Dana (liberal
donation ) Bhayunaka is also of three types—( 1 ) feigned fear (lyaja ), ( 2 )
Trasana (fear due to terror) and (^) OfTence (Aparadha)
V
CITRASUTRA
In the very first verse of Ad 35 Markandeya says, “ I will now speak to you
on Citrasutra” So the section compnsing adhyayas 35 to 43 is appropriately
known as Citrasutra
It gives, as Will be seen from what follows a comprehensive and systematic
account of Citra, not available elsewhere
The topics discussed in the Citrasutra are as under —
Adhyaya 35, which is called mamocchrayamana deals with the origin of
painting, the connection between Nrtta and Citra, five types of men based on
measurement standard of measurement and a brief account of the measurement
of Hatnsa type
Adliyaya 36 is called Pratmmdhyaya It deals in general with the measure¬
ments and proportions of the different parts of the body This part of tlie text
is in prose but at the end si\ verses are introduced with the words bfia\anti Cairo
Tliese verses describe the colours and other peculiarities of the five types of men
Adhyaya 37, winch is called Santattva maiia, gives in the first four verses
Ihe proportions of women who are also divided into five types Then follows
the general physical characteristics of Cakraioruns This is followed by the des¬
cription of SIX types of hair, live types of eye forms and their measurements The
adhyaya ends with information regarding different types of ejes Here, however,
there is no specific reference to the five types of men
Adhyaya 38 is called Pratimalaksanam It is difficult to explain why this
Adhyaya is so called, unless we understand the word Pratima to refer to images
in painting and sculpture both This adhyaya gives mainly instructions about
making the images of gods in particular
Adhyaya 39 which is called k^ayaifddhi treats of nine sth'ims three types
of Citra based upon Pram^na and Guna le measurements and quahtjcsand
kjayavTfddhI which is said to be of thirteen types including nine sthinas to which
four more arc added This is followed by an account of the different Mandalas,
Vat^Hha etc In verse SO, a hint is given about painting a form of a vsoman m
an anormous condinon
Adhyiya 40 which is callcil Pansatxaiikara treats of sanous p-imts and how
to mu them
104
VIS N UDI lARW OTT ARA
Adhyj.ya 4P wEitch is called Rangayartana, discusses the four typ^s of
painting tliree kinds oF bruslics, faults to be avoided and four eleni'*nts to be
observed in painting and the suggestions as to what constitutes an cacellcnt
picture
Adhyaya 42 is called Rupanirmanam as it deals with the various objects
which become the subjects of painting such as persons of ditferent castes and
classes—Kings, Sages Gandharvas, Daitayas, Women of various types, seasons
mountains, forests, temples etc It may be noted lint this Adhyaya gives us the
human form of a river, a lotus, a conch, an ocean etc
In the last verses, hints are given as to how different Rasas Bluvas and
modes of dancing are to be expressed in paiotmg
This IS followed by a hint about the classification of painting into Uttama
Madhyama and Adhama
Adhyaya 43 is called &rngaradibha\nyukiy(idi It starts with the discussion
of nine Citrarasas and how they are to be expressed through pain'irg Rules
are given as to what paintings of different Rasas are to be expressed m houses rojal
palaces, temples etc This is followed by similar instructions about the objects
to be painted at different places, the defects to be avoided and the menfs to be
achieved Verses 31 to 33 refer to the images, that are to be made in gold, silver
copper, stone, wood and iron This is included under Citra because ft follows
more or less the same technique Pustakarma f e modeJhng in various materials
IS also to be called Citra The same applies to figures on cloth Then a general
suggestion is made that whatever is not described here is to be learnt from the
adhyiyas on Nrtta and applied to painting In the last verse Citra is extolled
as the Supreme Art
As must have been seen from the contents the word Citra here is not used
in its usual 'cnsc of painting only It seems to cover sculpture also This means
that the whole art of ‘ imagery ’ is brought under the term namely Citra Tins
IS an important point to note m the study of ancient arts of India It is a point
of view which comprehends the wd ole of representative shaping arts This poifl*
of view characterises the treatment of the subject in this section
Origin of Painting
The mjth about the ongm of Citrasutra (ad 35) is as follows —
It was the sace Narayana who made it for the good of the people The
great sage in order to confuse the heavenly damsels (who had come to tempt
him) drew a beauuful woman on the ground with the juice of mango Out of
1 Dr A K Coomarasvvany published a tranvlaiiaa of AdhySja 41 wuh a commeniaiy and
nates in tJic jvar J931 33 f Joumsl of Anencaa Oriental Society, Vofj SI 52 J
CITRASUTRA
105
this picture was created the beautiful apsaras She was UrvasI ‘ Looking
at her the hea\cnly damsels were ashamed and went away Thus was created
the perfect Citra by the great sage Then he made Achyuta Vis\akarma learn
the art
This mythical account is significant in two points One is that the code
of painting is based upon an actual painting and secondly that it was taught to
Vi^vakarma, the divine architect This indicates that the art of painting was
practised by persons who were also builders It shows the connection of painting
and sculpture with architecture in earlier times and confirms the view of Herbert
Spencer* on the evolution of the^e space arts He says (hat in (he earlier stages
of human culture the arts of architecture, sculpture and painting were practised
together and it was only later on that they got differentiated
Nrtta and Citra
The account of origin is followed b> the relation of painting and sculpture
With dancing We are told that both Nrtta and Cdra are imitative or representa¬
tive of the objects of three worlds ( Trailokyanukrti) Naturalfv, therefore, Drsps
(eje sights), Bhavas ( moods ), gestures and handposes described in Nrtya would
hold good m Citra also The difference, however between Nrtya and Cura
IS indicated by saying that (he pramanas (measurements and proportions)
were not described in Nrtta adhyiyas but being necessary for Citra are discussed
here m CitrasQtra * The question of measurement and proportion is of specific
importance in the ‘ shaping arts * of space—painting and sculpture, just as rhythm
(Tala laya ) m time arts of music and dancing
Measurements
By way of introduction, the discussion of bodily proportions the text first
mentions five kinds of male bodies These arc Hamsa Bhadra, Malavja, Rucaka
and Sasaka Their height is equal to their breadth As explained b> Dr Kram-
nsch the height has to be equal to the length ‘ across the chest along the outstretched
arms from the tip of the right middle finger to that of the left
The measurement of these five tvpcs is given m terms of anguJa The
phrase Svennhn angulamlncna would mein the measurement according to one's
own angula If this intcrprctaion is true, then the measurements of each one
t tJrsait IS referred la as drawn on ground—Ur'''3iTi and not on UtQ ( on ih gh)
- See encyclopaedia Dn annica Elevenih Cdiuon \o1 10 (Pape J'O)
^ Dr Stella Kramrtfc.h understands this passage as foiloss-s —
Hence I am go ng to ipcaV about that b> s*bjcb measaremeni tn dancing was sjjJ < to be
reguUicd) (Seer \(StjuJharrnoiiara by Siel'a Kramnsch (P 35) This obnously
IS wrong Tbe tjoestuvs of bod )v proporijons bis ho plifc tn danan;
Vi'nudhamciijra—Vella Krirptrsch lv>I<(P W P )
5 14
IOC
VlSNUDl lARMOTTARA
of these types would be relative to their respective angulas This means that
no standard measure of an^ula irrespective of the measure of individual angulas
was fixed With this proviso the measurements of these five types are as folloivs —
Haipsa hiving 108 angulas, Bhadra—106 atigulas, Malavya—104 angulas Rucaka
—100 angulas, and ^aSaka—90 angulas
The proportions of the different parts and limbs of the body arc given in th-
terms of Tala Tila is said to be 12 angulas jn extinl The height of *hr foot
upto the ankle is one fourth of the Tala i e three angulas The Janghj (shank)
IS equal to two talas le 24 angulas While the Jano (knees) is equal
to one pada le 3 angulas The urus (thigh) arc equal to Jancha fv
two Talas The navd is one tala above the Penis ( Meijhra) The heart is
one t'lla above ravel and the throat (kan{ha ) is one tala above the heart The
throat IS one third of a tala and the face is one tala The head above the forehead
IS one sixth of a tala The penis should be in the middle This is the measure¬
ment of the length The hand is one tala while the arms (above the elbow)
17 angulas each and the forearms (prabihu) also of the same length Half
of the chest is eight angulas This is the measurement of Hamsa according to
breadth The measurements of other types should be m accordance with llus
(le in this proportion) All the types are equal m tfieir length breadth and
circumference
This IS followed by the measurement of each limb This topic is treated
in adhyaya 36 The circumference of head is 32 angulas The forehead is 4
angulas m height and eight angulas broad The temples measure 4 angulas and
2 angulas in height The cheeks measure 5 angulas Tlic chm measures 4
angulas The ears measure 2 angulas and 4 angulas in hcicKt The cavity’^ of the
car IS one angula There is no rule of the measurement of Pali which is ex
plained as the Jobe of the ear The nose measures 4 angulas At th- tip it is 2
"Bgulas in height and it is 3 angulas in breadth The extent of the nostril is one
angula and the width double The portion between the nose and the hp measures
half ao angula The lip is one angula The mouth is four angulas m breadth The
tower lip is one anguK The chin measures two angulas The teeth arc 24 and
tusks (Damsjra) 8 in number The teeth are half an angula in height The
lusk IS T?jth of an ancula The eyes arc one angula m extent and 3 angulas m
width The black orb is 4rd of the eye and the pupil is Jth The eye brows
are half an angula m width and 3 angulas in length The distance* between the
two eye brows is two angulas The distance between the end of the eyes and the
ear holes is four angulas The length of the neck is 10 angulas and circumference
1 Someth ig IS sa d about the hole in Ihe reading ladnindhramudaltajji or mudjKaiji whose
mean ng »s not dear
2 The read ng in the text is not dear It may be layordi'yangubmaniArarp
citrasutra
107
21 angulas The distance between the nipples is 16 angiilas and six angulas between
the clavicles The circumference of the arm round the shoulder (lit the root of
the arm) is 16 angulas and at the end 12 angulas The palm of the hand is 7
angulas (long ) and 5 angulas broad The middle finger measures 5 angulas and
the forefinger is shorter by one joint than that of the middle one and the ring
finger is equal m measure to the forefinger The little finger is short by the front
most part than the ring one The joints of the fingers are equal and one third
( of the finger) The nails measure half the joints The thumb measures three
angulas and has two joints The abdomen measures one angula according to
the physicians^ and measurements The hip is 18 angulas in length and its girth
IS 44 angulas The scrotums are 4 angulas wide The circumference of the penis
IS as much i e 4 angulas and 6 angulas m length, the thighs are 4 angulas from its
middle The width of the knees is its double^ i e 8 angulas Its circumference
IS triple 1 e 12 angulas The forepart of the shank^ is 5 angulas m length and 14
angulas in circumference The (soles of the ) feet are 12 angulas long, and 6
angulas broad The toes are three angulas long The toe next to the large one
IS equal m size of the large toe and the others are small by one eighth The nail
of the large toe is less by a fourth part of a toe The nail of the next toe is half
of that and the nails of the remaining are one eighth The whole foot measures
an angula in thickness ( ) and its height 8 angulas The heel measures three
nngulas (m thickness ) and its height 4 angulas
This IS the measurement of a Hamsa It is the standard measure in relation
to which the measurements of other types^ to be worked out The measurements
arc followed by other characteristics of the five male types
A Hamsa has a beautiful face, nice waist, a gait like that of a swan and is
strong, has arms like the king of serpents »c 5esa, moon-white complexion and
c>es having the colour of honey A Bhadra has lotus-coloured complexion,
strong round arms, great intelligence, a gait like that of an elephant and hairy
cheeks* A Malavya has a dark complexion like the kidney-bean, a slender
Waist, slim figure, arms reaching up to the knees, thick shoulders nose like that
of an elephant (le prominent) and large jaws A Rucaka has autumn-whilc
complexion, a conch like neck, great intelligence, is truthful, of good taste and
1 I hav-c adopted the reading of A and B
2 The reading in the text is dmended into Ud dvigupingula viputc januni tat ingtina parinahe
Intrusion of panniha between dvigutja and angula seems to be a scribes mistake
3 Dr Stelh Kramnsch seems to take tattngunaparipJhc with jafighigratp but pannihcis In
dual and therefore should be taken with jJnunI *
^ Iri the text the word *8 pirthivendripJiri meaning of the kings of kings This p-ohablv sug-
Eesis that images were genirallv made of kings
3 Dr Stella Kramnsch translates the word * Kapola as forehead
108
VISNUDIIARMOTTARA
Strong A fiaSakn is reddish dark, somewhat spotted, clever, has full cheeks and
eyes having the colour of honey
This adhytlya is followed by a discussion on five types of women As there
nre five types of men, according to the measurements of the limbs and parts,
so are there five types of w omen But it may he noted that the names of the type*
arc not given Unless we take the feminine forms of the names of five male types
as denoting the five tvpes of women
A woman should be placed near her man so as to reach the shoulder of the
man The waist of a woman should be made thinner by two angulas than that
of a min and the hip should be made bigger by 4 angulas The breasts should
be made attractive according to the measure of the chest
characteristics of great men
After giving genera! instructions of making images of women, we are given
similar general instructions about making the images of kings and Cakravartms
The king should possess the physical characteristics of great men The hands
and the feet of a Cakravartin ( sovereign ruler) should be shown withyfl/n or I'cb
The urna or tuft of hair should be shown as an auspicious mark betvieen their
eye-brows Three lines should be shown in the hands of kings They should
be charming red like the blood of hare ahd slenderly curved The hair should
be made thin, wary, shiny with natural glossiness and like the dark blue sapphire-
Hcre we are informed about six types of hair namely kuntala (locks),
Daksinlvarta ( curls turning from the left to the right ), Tarafiga { waics), Siraha
kesara (the manes of a hon), Vardhara (broom or brush hkc) md Jutatasara
(matted hair)
This IS followed by the five forms of eyes Tlicy are as under— bow ( cjpa ),
abdomen of a fish ( Matvyodara), a petal of a blue lotus (utpalapatrabba).
a petal of a white lotus < padmnpatranibha ), and an arrow ( SarJkfti) *
An eye of the form of a bow measures three >avas An eye having the
shape of an abdomen of a fish measures 4 javas and an eye like a petal of the blue
lotus SIX ynvas and like the petal of the white lotus 9 yavas An eye hiving
the shape of an arrow measures 10 javas We are incidentally told that an yava
measure, here, is related to the measure of one’s own angula
These five forms of eyes mdicaie different characters and their moods
A cfpak3ra e>c is to be found m looking at the ground in meditation For women
and lovers the shape of malsjodara is recommended For a person free from
passion the utpala eye is advised and for a fnehtened and crying person the Padma-
1 The oKhtr readings arc Saia anJ Cara Dr Stella Kramnsch accepts tlic
itig Sana and inierprcis. as a shape of a grind stone Verse 12 cf thts &dh>Sya has the readiRS
garflhrff in (iie m:tjoriiy of the mss vsed by me
CITRASUTRA 10^
patra eye The eye of an angry person and one suffering from acute pain will
have a sarakara
After these wc arc told in a general way that the sages, manes, & gods should
be adorned with their own haloes With this knowledge an artist has to work
out other things with his own intelligence The picture must be graceful, free
from crooked lines, with sthanas having many beam like lines and with steady
bhiimilambhas
Adhyaya 38 describes how the eyes of gods as well as the faces are to be
made The utpalapatra' eye of god, should be red at the corners, have black
pupil and long eye-lash It should be serene and pleasing Such an eye of god
is for the welfare of the people But if one wants wealth and happiness, one
should make padmapatra eye ® It should have the colour of cow’s milk, placid,
even, wide, serene and pleasant to look at It should have eye-lash sloping at the
end and black pupil
The principal face should not be triangular and oblique It should be
Square and full It should be serene and have good auspicious marks Long,
Circular, oblique and triangular shapes should be avoided for the welfare of people
In the case of gods hair should be shown in eye-lashes and eye-brows The
remaining limbs should be free from hair Their forms should represent youth¬
ful figures of persons 16 years of age We are also told that their measure should
be that of Hamsa They should have always serene face and smiling eyes*
They should be adorned with diadems, ear-nngs, necklace, armlet, bracelet and
auspicious garland of flowers with big girdles ornaments on feet, sacred thread
and With ornaments (either on head or ear) Tliey should be represented with
beautiful (Sobhmj ) lom-cloth reaching below the knee This should be on the
left Their right knee should be manifested Their ( upper) cloth should be
beautiful Their halo should be done proportionate to the head and circle of
halo should resemble the god An upward, sideward and oblique look should be
avoided, so also too small, wide, depressed, angry and harsh look The reasons
for avoiding these looks are not aesthetic but based upon considerations of magic
An upward look causes death, downward sorrow and oblique as well as small
loss of wealth The wide look causes death, depressed sorrow harsh loss of
wealth and angry look causes fenr
1 Ttie Iratutaiion of Dr Sidla Kramnsch is somewhai dilRrcnt She has noi taken Ulpata-
paira and Padmapatra as the speafic vaneties mentioned in ihc adh)^)^ 37 ( Sec p 40)
2 The mcniioa of hand ( P 41) in Dr S kranmsvh’s translation is due lo the rradins Kara ’
of N cnVaictwan cdiltoti
3 Gods arc supposed to haw ejes which do not wink cf »t*e|
T. (Nikramorvnio'am Act 3 ) If wc take the rcadint in the test lathi jtimiu
drvajah which is not uitlikel), it would be rrort consistent with the tradiiicn
visnudharmottarA
lio
This IS fallowed by the directions about the sliapes of an abdomen
The image’ of the dehy should not have a depressed abdomen or bulging
There should be no wounds on it Its proportions should not be more or less
than require It should not have harsh or dreary colours Its mouth should
not be made wide open It should not be made drooping with disproportionate
limbs If the abdomen is thin, it causes starvation and fear, if big or v/iih ^^ound
death, and if it is small, it causes loss of wealth, if more causes sorrow and if
harsh m colour, gives fear If the face is wide open, it destroys the family If
the halo is eastward, it causes loss of wealth and southward, death, if westward,
destruction of sons and if northward, it increases dangers If it is less than the
proportion, it leads to destruction, if it exceeds, it rums the country The rough
image causes death and aU^ry destroys tlie beauty The deities, even, invoked
by the best of brahmins do not enter an image, which lacks proportion and con¬
formity with the rules of image-making, on the contrary, Pi^acas, Daityasand
Danavas possess them Therefore, every care should be taken to avoide making
a disproportionate image
Therefore, an image made according to rules should be regarded excellent
It also tends to long life, fame and increase of riches An image not observing
the rules destroys riches (Sods should always be represented in beautiful images
Their gaits should be similar to that of a lion, a bull, an elephant or a swan
Citra or an image made according to rules is looked upon as blessing for the
maker, country and the kiog Therefore no effort should be spared jn making
It salaksana The emphasis put upon laksanaip in making an image should be
noted This, m itself, is Ao aesthetic imperative In the ancient tradition of
Indn beauty has always been associated with health, wealth and prosperity
In short, it is man gala
Postures
Adhyaya 39 describes the important topic of sthanas m painting Un¬
fortunately, the readings of this chapter arc very unsatisfactory and so it is not
•pcfi.'svkAe. Vw z. litsdcrstauduig, of this important topic of painliog^ Tbc
subject of the nine sthanas has also been discussed in later works on architecture
and of general knowledge such as Bhoja’s Samarangana SQtradhara ( 11th cent
AD ), Ablfilasttartha Cint'tuiam of Somc^vara (12th cent AD ) and 5ilpa
ratna of Srikum irn ( 16th fcnt AD) The text of Samar inganasutradhara* is.
1 The nouns qualified by chatodarl etc are not mcnlioned in the text The eontext would
require us to take it with Dflt' but in that case the meaning becomes rather obscure So
following Dr Stefa KramnsCh I have taken the adjectives to qualify some such words as
or Doaii
2 In addition lo 9 sihSn'^Sp it 9 V|tUs also The total aumber of btsic ind
ilhSnaVas is IS
CITRASUTRA
111
however, very corrupt and so we do not get much information from its adhyaya
79, deahng with painting The texts of Abhilasitartha Cmtamani (ad 3) and
Silparatna (ad 64) on the subject of chitra are almost identical They describe
the 9 Sthliiakas' on the measurement based upon the Brahmasutra and Pak?a-
sutras The description of the 9 sthanakas in our text, however, does not meri'
tion the Brahmasutra or the Paksasutras, though one might guess that these modes
of differentiating sthanas were taken for granted Any way this is an important
point of difTercnee between the description of the 9 sthanakas of the Visnu-
dharmottara and those of the Abhilasitarthacintamam and iSilparatna
Markandeya says there arc nine sthanas—basic positions of postures or
forms having -beautiful shapes and their modifications—painted in a variety
of colours
The nine ’sthanas are ( I) Rj\agata, (2) anrju, (3) sacikrtasarlra, (4)
ardhavilocana, (5) pirsvagata, (6) paravrtta, (7) prsthagata, (8) pamrtta
and (9) samanata These 9 sthanas are practically the same as are gi\en by
Saraarangana Sutradhara and Abhi Chi The Anrju of V D is their Ardharju
t Sec appendix 1
2 The reading in all the Mss and in the wnkatesvara text is subhakara Mharini This has
been translated by Dr Stelfa Kramnsch as ‘ auspicious forms and gestures As 1 have
pointed out m the critical notes ( Vol 1), the correct reading seems to be subhakaravikarani
in the light of the verse 33 of this adhjaya I have interpreted the text with this amended
reading The compound word SubhakaravakarSni can be anal>sed as follows —
( 1 ) stmtisi = 31TTRf5TKI (5^
(2) gut stlTRf^TRI (t4RlW) (51 Jit
The word vikSra can be taken in two senses (i) transformation or change and senti
ment or passion So the compound can be interpreted in two ways 0) sthlnds having
ordinary forms and their modifications or (ii) sthinSs having forms and emotions i e sthSnSs
representing forms as well as emotions ( 3 ) The compound can also be dissolved as
srrmRTmPl Rtki = (fr J ) and rpu sthuRtki ai'Jl I
In this case ihc compound would mean sthSnis representing iransformiitons or modifica
lions of forms m natural condition
^ \^ith amendments in Ihc readmit of Ihc first four sxrscs of the adhj‘3''a 79 of Samari'igana
sQiradhlra of Bhoja, \\x can get Ihc following 9 SlhAnakis (1 ) Rjs Jgaia, ( 2 ) ardharji^*
rtta, (3) sicikrta, (4) ardhjTirdhSkja These four arc called 0nih\2gau WTien they
become pari\Ttla, they gi\x four more posuions namely (J) RjvJjMiapara^riia, (2)
ardharj'^igata rar5>Ttia, (3) sicikrla pari\Ttw, and (4) ardhj-ardhJksa iMr3\nti The
ninth Sihana is p3rfv*agaia It ts alw-aj-s painted on a wall (bhitlika sigrahan lit ha>jng
Its body on the wall The AbhilajiUrtha cintlmapi (Ad- 3) and Silparaina (Ad 64) cmi
mcratc the sthanas as follows—Ardharju, S3d, D)*anlh3L5l, and P^rfsagata v hich is
'^Tongly called Bhakula by Abhi Qnli but correctly called BhiitiVa by fdpuratna
TTicsc fl^'c arc regarded as pnnapal sihlnas of both the lexis By rtakng OsC first fo^r
ttc get the followarg four positions narx'y RjupariiTtia, Afdhirj«par3iTta,
Sadparivftla ard Diardhlk?! pari\ftia
U2
vismudiiarmottara
SuciJtfta^arrra J5 the sme as SSleJ The Ar(]]u\j!ocana seems to be jdcniicaf
^Mlh dyardhaksl The parivilgala is common The xeadin^s in our tc^t js
purilvfUam (^lo 3a) and parilvfttam (Slo 3b) These should be corrected as
parav(lta and panvylta respectively in the li^sht of verses 23 f ^aodaparSvjtlam)
and 29 < parivritarp) Another enumeration js given in our text based upon the
principle of k^ayavfddhi (le fore shortening) They arc (1) pfjthSgata
('^ dfst^g^ta) (2) avarjugala which is mtswnting for ardhaijugata, (3)
madhiardhJrdha, (4) ardh5rdha,C5}sflcifrrt^mukha,C6Jnata,(7)g3ridapafavftta,
(8) prithigata, (9) pl5rv.igala, (10) ullcpa, < ij ) catita, (12) uttina acd
( !3) valita
Now let vs see if we can visualise m some way the 9 slhanas and 13 sams-
thnttas
( 1) The Rjvagata sthlna is frontal ( Abhimukham) The quality of ils
measurement (mSnaguna ) is distinct ( The figure in Jt }s complete) Jis limbs
are beautifully drawn The bruvh (vartaka) jn jt is soft (slaVsana) and spot¬
less ((amala) This sthina is very pure, sweet and adorned with clear lines
and embellishments The limbs m it arc undimmished
(2) In the anrju sthana the frontal position has undimimshcd chest and
abdomen and the portions from waist to shinies and shoulders arc diminished
The nose-wing and the lower hp should be shown one fourth The three fourth
of the limbs is diminished This js an exceJJent beautiful sihana accomplished
by sthanalamba' re by proper perpendicular position In this sthana many
karanas ( dance postures) can be shown
(3) In the sacikftaianra the bhumilamba—perpendicular reaching the
ground level is sideways It is diminished by caturbhaga* t e one quarter *
The eyebrows* and the forehead are shown one and a half Similarly the high
bridged nose The remaining half is diminished by a bhSga i e 4 angulas The
eye IS diminished by a kala / e 2 angulas The eye brow should be drawn with
a sole line and s"no'£l^d dTiTmTi'V'sWa a krAii ve 1 ^ accoum
Its being subject to modification (vaik5nkai\it}, it is averted (sacikpa) It
should be pleasing to the eye It should show good brush vsork and should be
delicate It is suvartana The black pirt of the eye should not be shaded
t ‘fhe reading of A slhlnalamba is adepied here and ihe bhumilambha of \er« 10 es accord
ingly amended into bhQmilamba
2 According lo A bbi Cinta and Sitpa ratna a bhaga is equal lo 4- angulas Jf we accent
this mcasuremcnl calurbhdga htre means * dimiiushcd by one angula but Abhi Cl and
Silparainashow the bhunulamba duntnished by 2 angulas
3 Bisccung by BrahmasLUra there will be iwo parts of a forehead contaming one eyebrow
So one and a half would mean here one comp!c(e half and the half of the remaining half
chrasutra
113
(chayagata )} nor should be straight (Rju), nor should it be as in anger (hopa
inin )
(4) The ardhavtlocana position is as follows —In the face half eye is
shoiMi and the other half is not shown (lit dropped), so also the eye brows
The contraction of the forehead or belter the contracted forehead should be
of one in"itra * The conspicuous part should be shown half or adopting the
reading s ira only essential part, what is to be shown, should be exhibited slightly
The cncck should measure one half of an angula and the other half is diminished
The line of the throat should have half an angula and the chm should be exhibited
one Java 1 e J of an angula The mouth {front part) of the chest should be
shown half and the half should be dropped Similarly, from the mouth of the
navel one angula remains (i e only one angula of the figure remains from the
mouth of the navel The waist should be shown half and whatever else is to be
shown should be shown half Thus adhyardhaksa is recognised by its very
shape (atarena) This is otherwise called chayagatam
( 5 ) The parivv-gata is as follows —In it either the right side only or the
left cide IS shown The rest of the limbs vanishes or diminishes Similarly also
the movement of the limb Like one lower lip a nose and a forehead, an
eye and an ejebrow are also shown one, singly One ear half of the chin and part
of the forehead where hair touched should be shown It should exhibit com
plete portion (measure) beauty and sweetness This is also called bhittika
le wall painting
( 6 ) The panvftta position is as follows —( Here the reading apakruddhe
IS amended into apakrste C^)) The averted face (7) is diminished by one kalil,
similarly the region of the throat, so also shoulder, cheek and forehead are
diminished by one kala The arm, chest waist aniT the private part may be
diminished by 2 kalas each Its proportion should be m accordance with the above
Its limbs should not be very much diminished
{ 7 ) The prsthagata is desenbed thus —^The configuration of the body
should be beautifully shown from the back The eye brow and the joints of
all the ®limbs should be curved The corner of the eye should be shown slightly
On the cheek should be shown slightly the com'*r of the eye and the stomach
should be shown only on one side It is firm (susthira ) and pleasing to the eye
* (1) Dr Stella Kratnnsch translates the word chSyaEata as coming out of the shade *
Chayaya agata (2) Chayam gatani—gone to the shadow or sliade ie not even in silhouette
It should not be 'hown ( 7)
2 The phrase intended seems to be lahlabhango matra^ca It is changed as bhadgo
latatairatiafca possibly for the sake of metre roatra = 1 angula
^**‘1 amended into
114
VlSNtJDirABMOTTARA
It should Inxe the qualities of complete proportion, beauty and sweetness The
mth’igata position is practised jn the book-pictures
( R ) The patiVYtta {turned back position is described thus—Its upper part
should fall by ( dimmish) one bhuga f t 4 angulas On nccount of pansi'ltj the
turning back, the upper part is evenly placed with the dinunishmg part eventhough
the half of the limb is frontally placed The two halves should be shown up and
below as if they are somewhat in chaylgata style (silhouette) The similanty
m the two halves is vulgar and without interest and therefore the middle portion
should be properly diminished as to please the e>e
(9) The simunata sthana is as follows —The whole eye is turned towards
the region of the buttocks The sole ( of tlic foot ) is seen The upper half of the
sight IS diminished while the rcmaiiung sight of the region of the waist is sag
gested Tlic foot and the fingers (toes) arc dropped "While the two soles are
completely seen It is four sided, and complete The bhajSnala rasa is not
seen in it The half of the arm is shown ^VhtIc the face and the neck (kan-
dhara) are not seen and shank (jaiigha) of one side is dropped
These nine positions should be understood in o'der of their Jakfitas (cha
ractenzations ) Their many van^’lions should be imagined by superior under¬
stand ng Tlie background should be divided properly and then the dirfercnt
portions These should be done by each portion of the ground i c background
and according to rules On the background first proper measurement shou’d
be achieved and then these 9 sthSnas should be drawn in accordance with the
qualities of measurement etc These 9 positions Can depict all the bhavas
Keeping m view the whole world consisting of moveable and immoveable objects
It can be said that there is no other sthana in addition to these te these 9 sthanas
tiiti depict all movcuhle and immoveable objects of tiie world
There arc tliree types of pramana vir citra, viatra and tnvidha ( vjiviciha)
with reference to the quality of pramana m Mtama, madhyama and adhama
1 have alreadv spoken about k§aja and v|Jdhi as a whole
Now I shall speak about the rules of ksaya and vfddhi The knowers*
of painting should know it in hncf or at length These ksaya and vTddbi
being derived from limbs and parts are of thirteen types on account of the
many ways in which the sthanas are composed These thirteen sthanas or better
samsthanas are named as follows —( 1) Dfstagata* (2) anijugata, (3 ) madhyar-
dhardha, (4) ardhardlia, (5) sacikrhtmukha, (6) nata, (7) gandaparavftta,
(8) pr§!hag4ta, (9) parsvagata, (10) ullcpa, (11) cahta, (12) uttana and
V The ccytMCt readins s«nK to he
2 The rtvdiiie of CT is adopted here
CITRASt/TRA 115
(13) valita All these are to be done according to samsthana (the various
compositions)
Here the manqlalas are to be shown by the order of movements m Vai-
idkha and Pratyalajha The Padas (feet) are even (sama) and half-even
(asama ) The steps are steady (susthita ) or moving (cala)
The sthanaka derived from sama and asamapada is of two kinds In the
*I?jvagata, sthanaka ( standing posture) is samapada and the remaining sthana
(standing posture) is of raantjala type In standing postures one foot would
be even and the other would be shown beautifully moving (asama )
The archers are to be depicted m vaiSdkha, ihdha and pratyahdha poses
The bearers of sword and shield should have visaraapada m the gomutraka pose
i e zigzagging or jumping The bearers of ^akti, tomara pa?ana, bhmdipala
etc should be shown in the calita posture showing unsteadiness and one foot
in alidha position The bearers of cakra, Sula, gada and kunapa should be
shown in a valgita (jumping or galloping) posture
The form of a woman should be drawn thus—one foot tn sama ( even ) poss
and the otner languid ( vihvala) and the body engaged m game should be shown
With leanings and somewhat running The buttocks should be broad and rolling
with the graceful sport The placing of the foot should be steady
On this earth men are mostly void of proportion on account of the power
of time and condition (state), therefore, understanding this a wise man should
in relation to ksaya and vrddhi create proportion by his own genius
The Technique of Painting
Ad 40 describes some important aspects of tlie technique of painting such
as (1) how the surface of the wall should be prepared for painting including
the instructions as to how the loam to be used as plaster should be made (2)
How tba gjcQiirui bawmg, i,ewel like bisters can he prepaxed ( 3 ) The mspieions,
time and the ceremony which the painter has to observe before starting his work
(4) The drawing and the colounng of the picture, ( 5 ) Di/Terent kinds of colours
of skin ( chavis )’ based upon the division of primary colours, and f 6) prepan-
tion of pigments
Plaster —
The preparation of the loam to be applied as pla^^ter on wall to make a
proper base for painting is as follows —First crush the bricks into powder
1 Tlic reading m verse 42 is sthanani lu trayodaia These slhanas ho\m^r are to be diviin
guiSlicd from the 9 basic sthanas described in verses 1 to 32 In verse 40 wc find ihc rendm'*
sthananuip bahusamsthatvad and m verse 43 \vc find th** reading karmaojctani sarvdijl
n5nnsamslhana(o Nrpa So it appears that the correct renJtns fn icrsc 42 m gbf have
been sainslhdnani trajoda^a
2 The reading l?.j\ayata is amended here
116
\ ISNUDHARilOTTARA
These bncks according to one reading arc of three kincfi (tnprakara) Wc are,
however, not told what these three kinds arc' According to another reading,
( cltrakarestaka) they arc painter^s bricks What arc these painter’s bricks’
Are we to take them as tabloids or what are called go}! m Gujarati’
In this powder of bricks, one has to add to it claj-powder in proportion of
one to three the brick powder Then one has to pat in. it H equal proportion
Eugguli-<guni,), madhucchiila (bees’ wax), hundaruka, ga^a, (molasses), kusu*
mbha with oil Mix with this powder of lime burnt in fire in the proportion of
one to three (tribh-ga ) Add to this, the pulp of biha in tw o parts and put in
It the black po)\der of touch stone Add to this, sand as much as require Fill
this with water of the bark of picchih Keep this loam for a month’s time After
It has become pliant (in the course of a month), take it out carefully, rub the
wall and smear it w ith the loam and allow it to dry The plaster (lepa) should be
glossy (Slakjana), well fixed, even C«ama) and shouldnotbedepressedorelevatcd
The plaster should neither be too thick nor too thm When the wall thus plastered
becomes dry and is unpolished it should be polished or smootliesed with chy
adding juice of sarja in it and a proportion of oil (according to Ms C without oil)
Then one should again pobsh it \yith black colly nun Tlicn spnnkle inilk
repeatedly on it and rub it carefully In tlus way the wall becomes dry Such
a wall ( or rather the plaster on the wall) would not pensh for hundred years
Manibhumis —
The various manibhutnis (lit surfaces having the crystal like brightness)
should be prepared in this way with two varnakas i c two types of smear (as
described above) If we, however, take the meaning of varnakas as merely
pigments, there should be two kinds of pigments on the wall on which the paint*
mgs arc to be drawn Manibhumis are called ntravapuya If we take the word
citravapusv as nominative plural, it would mean having v/onderfully beautiful
If wc take it as instrumental singular, it would mean the manibhumis should
be accompanied by proper background for pictures
Instructions regarding time and ritual of pimtinc —
Some mstcuctions as to where and how a painter should start hts work arc
also given He has to start his work in the Citrl Nakjatra He should practise
abstinence before starting Jus work He should wear a white dress, pay respect
to the Brahmins and get their blessings Then he should get tlic blessings of the
teachers who are masters in the art according to precedence then facing the
cast and mcdiiaung on the deny, he should start his painting He should draw
the picture with white, dark yellow or reddish brown (kudrava) and with black
brushes in due order Then he should place it on a proportionate position or
background or frame ( sthSoaka ) Then he should apply colour m accordant
citrasutiu
with the sthaua The colour of the skm would be either dark or wlute We arc
told here that this subject has been discussed previously m detail This seems
to refer to adhyaya 27 of aharjdblimaya
Cliavis or colours of skm based upon primary colours .—
While discussing the subject of aharyabhinaya (ad 27) I reserved the topic
cf angaracana in order to give a connected account I will, therefore, take up
the Slokas 8 to 16 of adhyaja 27 along tvith the ^lokas 17 to 24 of this adhyaya
Pnmary Colours —
According to verse 8 of adhyaya 27, the primary colours are §veta*white,
Rakta-red, Pita-yellow, Krsna-black and Harita-green While according to verse
16 of this adhyaya (ad 40) white, yellow, vilomatah (produced from viloma
( 7 mi) le emblic (myrobalan amalaki), black, and blue are primary colours
In this, Sveta, pita and krsna are common Rakta and Hanta of the former
are replaced m the latter by colours produced from Viloma and Nila Thus
here is some discrepancy or rather a difference m the tradition of pnmary colours
The number cf mixed colours by mixing one, two or three would be count¬
less or according to verse 16 of Adhyaya 40 would be hundreds and hundreds
Colour of the skin —
The word ehavl is to be taken to mean the colour of the skin or of a sur¬
face in the case of paintings In the case of aharyabhinaya, it is, of course,
the colour on the s’un of the actor
The two principal colours for painting the skm are dark (Syama) or white
(gaura), according to this, the skm colour (chavi) is of two kinds dark and
white The white colour on the skm would be of five kinds and the black of
twelve kind:>
The five types of white are gold like white (Rukma), ivory like white
( Dantagauri), white like +he split sandal ( sphutacandanagaurl), autumn cloud
like white ( <aradghana), and autumn moon like white ( candraka gaurl) The
twelve varieties of dark are reddish dark (raktasyama), dark like the Mudga
pulse ( Mudgasyama ), dark like the durva grass ( durvaiikurasyama ), pale dark
(pandusyama), greenish dirk (Haritasyaml), yellowish dark (pitasyama),
dark like pnyangu creeper ( priyangu5yama), dark hke a monkey’s face (kapi-
Syama ), dark like a blue lotus ( Nllotpalaiyama ), dark like the casa bird (caja
^yama), dark like red lotus (Raktotpala^yama) and dark like cloud (ghana-
iyama)
They should be manifested by pigments appropnate to the material ( Dravja)
The mixture of colour enhances the beauty (verses 8 to 16, Ad 27)
visnupiurmottara
iit
Mixing of colour^ —
The mixing of colours with reference to some of the above mentioned
Chavis IS gnen m this adhjAya (40, \crses 17 to 24)
The mixture of Nila anti Eita gives Pallia Palana would be cither itiddha
pure, when white predominates or one in which Nila would predominate Nils
bhyadhika
According to the desired colour of the s^m, one of the colours woold
predominate Thus the mixing would be of three types One in which white
predominates, second m which it is subordinated and third in which jt is m
equal proportion It would be thus variegated by making one of them a bindins
substance With it one can have the following colours of the skm Durvan
kurapita^ kapitthalianta and Mudgi^yami Siimlarly by making Ntli th“
astringent with pan^ura the subsidiary in either equal, smaller or greater pro
portion, one can hive the colour of the skm having tlie hue of Nllotpala,
( *^ C isi) etc By proper mixture of other colours, one can ha^e beautiful colour
of the skm By combining white lac with a coating of lac and resin one would
get RaktotpalaSjama colour of the skm This can also be variegated m many
hues
Making of Pigments —
The Bangadra^yas or substances from which pigments arc made, arc go’d
Ckanaka) Silver (Rajata), Copper (Tamra), Mica (Abhraka), UltramariD^
lapis ( R ijavarta ), Red lead ( Sindura }, Lead ( Trapu ) Yellow orpiment ( Han
Lime (Sudha) Lac (Lak^a) Vermilion (Hmgulaka) Indigo (NTia)
and many others
In every country, lliere arc many such substances They should be manu
fdctured with an astringent ( stambbanayutah ) Tlie irons or metals should be
either thinned into leaves ( patravinylsa ) or they should be made liquid ( Rasa-
krfya) (chemical treatment)
The iron and mica can be tnmed mto liquids by putting them in a narrow
^csscP Thus the iron or metals become fit for painting The mica can be
turned into liquid bitumen and bcllium The decoction of hide can be made by
making an as nngent of the resin of Dakula In all colours the juicc of sindura
plant IS desired or necessary
A picture astringcd with b g tail ( ? brush ) or hair (of tail) fastened on a
tablet dipped m tli^ resm ofMalangaand dSrva cannot be destroyed cventhough
I I have amended iJj? raiding ofihe itat ibus noyasiJmab?iraJ.arTT d SiapaiP
bh^lNCt
CITRASUTRA
119
washed with water It would stand for many jears (Ora picture astnngcd with
the long stalks of 'udara (a kind of corn with long stalks) and dipped m the resin
of Matanga and dun a cannot be destroyed eventhough washed with water It
would stand for many years )
The classification of Painting
In this section arc described topics w’hich ha\e not only a historical value
but are of general interest in the domain of art
The first topic treated m Adhyliya 41 is the classification of different types
of Citra This topic owing to its unusual importance, has m addition to Dr
Stella Kramnsch attracted the attention of other scholars also Dr Coomara-
swamy has translated the whole of this Adhyaya m the Journal of American
Onental Society, Vols 51-52, years 1931-32 In his article on Rigara painting
m Rupam (nos 37 & 40) he has again treated the problem ofdassification of Paint¬
ing Dr K. P Jajaswal has also discussed this topic in liis article on A Hindu
text on Painting’ in the Journal of Bihar and Orissa Research Society, Vol IX,
(1923) Part 1, pages 30 to 39 Dr V Raghavan in his article on ‘ some Sanskrit texts
on Painting’ in Indian Historical Quarterly Vol IX ( 1933 ) Page 898 has tried
to refute the interpretations of Dr Coomaraswamy It is therefore necessary
to consider here the views of these eminent scholars and see how far they help
us in understanding this very interesUng problem
The first four verses* of this Adhyaya describe four types of painting These
are Satya, Vainika, Nagara and Misra
t We have to find out in which lexicon the word, udara is used in the sense of corn as mention¬
ed by Wiliam Moniers in Sanskrit English Dicfionaty There is howeser, a word uddala
or uddalaka means Cundo or Gundl It also menns a wild corn called Jangah kodro and
in latln cordia mixo no-Boraginaceae (see Sanskrit Sahityaman Vanaspau p 81 by
Bapalal Vaidya
i *Dr Stella kiamrisckand fDr A K. Coomarasxvamy translate these ver-^es as follows ^
• ‘ Whatever painting bears a resemblance to this earth, with proper proportion tall m height,
With a nice body, round and beautiful is called true to life
That IS called Vainika which is rich m the display of postures maintammg stnet pro¬
portions, placed in an exactly square field, not phlegmatic, not \ery long and \^e!l finished
That painting should be known as Nagara. which is round, with firm and well de\eloped
limbs With scanty garlands and ornaments The nusra denies its name from being com
posed of the three categories ’’ p 41
t** Painting that represents any of the worlds ( Kificidlokasadr^yam ) that is elongated and
has Ideal proportion (pramana) that is delicate ( Sukumara ) and has a goodly background
( Subhunuka) is called pure or sacred ( Satya )
Painting that fully fills a squares field, not elongated, Without superfluities of form
(NoKaijakrti) and rich m ideal proportion and m poses (Pramapa sihanalambhadhya )
IS called L>ncal (Vaipika)
Painting that closely covers every part of a circular field (dfijliopacitasarvangavartulam ),
without exaggeration of and having but little of garlands or jewels, is known as Urban
Or secular ( Nagara )
Painting is called Mixed (Miira), when there is a combination of the*? kinds ”
VISNUDHARMOTTARA
The verses may be translated as follows —
“ Cura IS said to be of four types Satya, Vainika, Nagara and Mi^ra
These are described thus —
Whate\ er ( yatkificid ) painting depicts 'cmblance of the w orld (lokasadrij’am
Citram) is called Satya It is elongated (dirghangam), well proportioned
( Sapramanam ), delicate ( Sulumnram ), and has a proper background f Sabh-
mikam)
That IS to be called Vamika which is four sided (Chaturasram), well finished
( Susampurnam ), not long ( nadirghSngam ), and not having excess vely bright
figures ( nolvanakrtiip) and having proper measurements (pramanam) and nch
in the attainment of postures ( sthanalambhadbyam )
That Citra is to be knovra as Nagara, all parts of which arc firmly set
(drdhopacitasirvangam ), circular ( vartulam ), not thickly bright ( na ghnnoh anam)
and showing just a few (svalpa) garlands and ornaments
The MiSra is so called because it is a mixture of all these th-'ce ( styles) ”
About the exact meaning of the three types, there is a great difference of
opinion and so also about the interpretation of the verses translated above As
Dr Coomaraswamy says ‘The explanation given m the text is regrettably brief
and in part obscure ‘ He tries to improve upon the translation of Dr Steh't
kramnsch, which he regards as unsatisfactory with the aid from ‘ the root meanincs
^of the terms and other associations and from our Knowledge of actual pamtins’
This is undoubtedly the proper method of interpreting this ancient text However,
"Dr V Raglivan finds fault with the interpretation of Dr Coomaraswaray and says
‘ None of the first three kinds has been correctly or adequately explained by Dr
Coomaraswatny ' His criticism, however js negative He is not able to suggest
any better interpretation and satisfies himself with the remark tint ‘Myimpress on
on reading the V D ts that even to its author the exact import of these names
was not clear ’ ^
It is comparatively easy to interpret the word, ‘ Satya * as true to life as given
by Dr Stella Kramnsch Dr Coomanswamj, however, translates it as pure or
sacred and calls it Sattvika or Spiritual It is not possible to follow Dr
Coomarasvvamy m this interpretaion as V Ragliavan says ‘Satya cannot be
interpreted as a sattvika picture One can as well derive it from saf and sa>
it is the picture of the Upamyadie Brahman'
The term ^ ainika is interpreted both by Dr Stella Kramnsch and Dr
Coomarasvvamy as connected with Vipa or ‘lyre ’ and both of them cal! it lyncal
The word NSgara is translated literally by Dr Kramnsch ‘ as of the citv’
j c * of common men ’ Dr Coomarasvvamy renders it as Urban or secular
CITRASUTRA
121
probably dilTerentiating it from sacred, his interpretaion of Satya This dis¬
tinction of sacred and secular however seems for ancient India rather anachronistic
Dr Coomaraswamv connects this word Nagara with the word Nagaraka
mentioned m the Kamasutra of Vatsyayana and the reference to painting in the
same work He regards the Nagara Citra as the work of amateurs on panels to
be distinguished from the wall paintings of the professionals It is difficult to
say how far this interpretation is historically correct V Raghavan, however,
rejects it, he c\en refuses to take any suggestion from the word Nagara as used for
a particular style of architecture This, however, as we shall see is not justified
Now I propose to submit my interpretation of these four varieties or rather
of two The Satya variety requires no explanation In fact, it is a sort of general
type because it has been repeatedly emphasised in V D that the mam business
of painting is to produce Sadrsya i e semblance The Mi':ra variety also requires
no explanation The real difficulty is about Vaimka and Nagara varieties
I suggest that these names indicate a geographical connection It is welknown
that different styles in poetry and drama are known by geographical terras Dandin,^
for example, refers to Vaidarbha, and Gaudiya as styles of speech ( giram margah
ht the pathways of speech) These are the two principal Kav>a Ritis Later on,
'''C find six styles of poetry ( kavya Ritis ) mentioned in works on poetics These
ai'e Vidarbhi, Gaudi, Pancali,* Avantika Latiya and Magadhi
Rajasekhara® also explains Vrttis, Pravrttis and Ritis by reference to different
parts of India The Natyasastra refers to the five Pravrttis namely avantl,^
daksinatya, ’ ‘ audhramagadhi Pahcali and Magadhi These are, also geographical
names The names of the 4 vrttis given in N S are Bharati sattvati kaisiki and
arabhati These names seem to be more or less racial (Ad 6 Slo 26 and 24 C S S )
This IS sufficient to show that poetic styles bore geographical names, though they
are distinguished by literary characteristics These literary features might have
ongiaated in the particular parts of the country and m course of time they were
differentiated throughout the country by their literary characteristics though con
tinuing to bear the names of their original places They were just used by writers
of the whole of India having respective inclinations towards particular styles
The same can be said to hold good about the styles of architecture viz Dravids, *■
cIwJh 11 1 K D
<Pir i
sjo ^ pp 8-10 GOS 3 rd edition 1934
3
V16
vknudhakmottaka
122
Nagara and Vcsan ^ Though these are geographical names yet as in the case
of poetry so m thts case the styles *ttcre followed throughout the country accord
ing to the inclinations of the builders This is the reason why the attempts of
scholars to locate the different styles of architecture in geoeraphical areas indicated
by their names fail
In my opinion the same thing holds good about our two styles of painting
Nagiita and Vaimka
The word NSgara is much discussed by writers on afchitecure because it
IS mentioned as a particular type m works on Vastu and Silpa The gcogra
phical area that is alloted to NSgara is roughly speaking northern India The
word Nagara is grammatically to be derived from the word Nagara the meaning
being pertaining to a Nagara or charactensed by an urban way In Indian
tradition seven* such Nagaras are known One of these is Mathura I am
therefore inclined to think that the term Nagara as applied to ^iJpa is con
nected with Mathura A student of Indian art does not require to be told
about the importance'' of Mathura as a great centre of Indian plastic ait
1 NSgara Drav (Ja and Vesara by K R P sharot
Texi Noffara i?rav
KSmjkagayna From the Himalayas to From the Vmdhyas to From the to the
the Vindhyas the KnfS cape
Paddhit From the Agastyas to DravitJa country
ihc Vmdhyas
Vivaraca From the Vtadhyas to From the Agastyas to
the Asastyas the cape
£i]pa ratna
I Between the Agastyas country
and the Vindhyas
n From the to the From the Vindhjas to
cape, the
KSiyapaiilpa From the to the Fromfe ihc Vindhyas to
cape. the KpJ&S
Sec Ind an Culture Vol VI part I
Rirq-^ ^f\x^ « v»
girariq
P 159 of edited by G Oppert 1893
3 See Dr A K ^ornaraswamys—H siory of Indian and Indoncs an Art Pages 5710 6S cic*
Dr V S Aera\>»aU f—Gupta Art P 1 elC-
Visircnt Sm ths—** A History of fine Art in India and Ceylon 1930 Pages 39 to 46 elC-
CimSUTRA ' lii
Modern scholars are inclined to connect the word Nagara with the Naga
race. The Nagas were well known as architects and sculptors in ancient Indian
tradition. Riija^ekhara mentions Nagadvlpa as one of the nine' Dvipas *of
Bharatavarsa. This* Nagadvlpa is placed in the western part of India. Tliis
location would agree very well with the region round about Mathura. In the
Opinion of Dr. Smith, Dr. Coomaraswamy and Sir John Marshall it was the art
of Mathura spread not only throughout India but even to the far cast. Naturally
with the spread of style its name also would circulate on the analogy of literary
arts. It is, however, difficult at this stage to know definitely the artistic character¬
istics of the Nagara variety. If we accept the view of those scholars who think
that the styles of architecture are more to be distinguished by the shape of the'
Sikharas than anything else, we may say that the Sikharas of Nagara architecture
are curvilinear® or approximating circular as distinguished from the rectilinear
of the Dravi^a type. One of the characteristics of Nagara Citra given in our
text is that it is Vartula or circular. I am, therefore inclined to connect this Nagara
Citra with NSgara architecture in this particular aspect Broadly speaking, it
IS the northern variety that is charactenzed by circular forms
Vainika is a httle more difficult to explain. It can be grammatically ex¬
plained as follows: — Vettaya/p bhavah Vaimkah ; bhavarthe thak thasyekah \ It
would mean bom in or" coming from Vena
Now what is Vena? Following the geographical line of inquiry we find
that VenS is a name of river m Daksmapatha* and Venatata® is the name of a city
m Abhira DeSa, which is also m Daksinapatha On the strength of this identi¬
fication we can explain Vainika as a style of painting current in the regions round
about Vena or in the city of Venatata and consequently equate it with the Dravida *
style.
1 See Kavyamimansa, Page 92 ( G,0 S. )
2 Sec Kdvyarmmansa, Page 95 ( G O S )
3 Indian Culture—Vol. VIII Years 1941-42 Page 186.
4 Rajasekhara, m his Kavyamimamsa mentions Vepa as one of the rivers of DakfinSpatha
< Pages 93, 94. G O S )
It is a tributary of the river Krsna, which is called Krsnavena after the confluence
(See Appendix 1 to K M Pages 309, 287 G O S ) See also for the identification of Varna
With Krsna or Ven3 Page 307 of the same )
5 Anuyogadvara, a Jain canonical work mentions Bcnniyaija (e Venatata as a city m Abhira
country lying about the banks of the river VeniS Abhira is always referred to as a region of
Daktnjapatha m Jam Literature
(Sec Anuyogadvara Sutra Page 149). Agamodaya Samiti edition
Compare
| (pagg 513 j
The Commentary on by
124
VtsVUDlIARAlOrrAftA
This equation receives corroboration from a stylistic feature common both
to Dravidi Prisldas and Vaimka Citra It ts vtcU known that the Sikhams
of Draviija architecture arc rectilinear or square in shape' while according to our
test Vainika Ctlra is CaturaSn
Thus on the strength of geographical identification—as well as on that of
similarity of shape, 1 propose the theory that Nagara Citra and Vamika Gtra
are varieties of painting similar to the Nagara and the Dravida varieties of Archi¬
tecture
Thus Satya Citra should mean realistic painting empliasising semblance
with reality, Nagara indicating its relation with—Nagara most probably
Mathura and prevalent in—Uttarapatha—should mean painting in a circular
form and Vamika indicating its relation with the city of V^enatafa or the region
round about that river and prevalent in Dak'^in'tpatha should mean pamtiag
in rectangular form
In addition to the classification discussed above, there is another classiftca
tEon of painting* into Iluama Madhyama and Adhama This is based upon
1 Indian Culture Vol VIII PajeJSS Year 1941-42
See alsc3—A study on Vistuvidja—Tarapada Bhattacharya Page IfiO
2 The subject of classiGcation of Citra is to be found in other works dealing with Otn
Somesvara m bis Manasollasa known also as Abbilasiiarthacinumani dindes Citra into
Viddha Asiddha and Bhai'antra
gmiPI 5P7T I
Sl^ JJIflBtri'TJfcI? II Vox 1 frClTct 5
niRfunti \ oi II G 0 s
The meaning of Rasadhuh&^tam probably is that these three types should be tfraw-n either
with Itqwtd colours or with p^wdertd toTours He mention’? Dhuljeitra also separateJy and
defines it ns a patntins with very high colours
Tlie other three \3r1ei1cs \\hich seem io refer lo style arv more intcrcitcng After saving
the innumerable creatures cannot be described and ndMsing (hat ihcy should be punted ac
cordios lo respectiAC Rupa—
he defines vidJha as a picture in which t3ic scmblince is painted as af it weru on ima^e
reflected In a mirror
cTPEi^ Hsrr (
Aviddh'i 15 defined thus—a mere sVctch drawn with ihc words I am dravriflp casually anJ
which IS pamicd wilhout a set r^rpo^t; i» XaoftTi as A^iddha™
11 <31 \ \
C>TRA5UTBA
125
two principles. One is referred to in verse 37 of Ad. 39 and is based upon the
principle of pramanaguna which might mean either the quality of proportion or
proportion and technical qualities of Citra ( Citraguna).
In adhyaya 42, verse 82 it is based upon vartana. The one depicting ardra
IS called Uttama, Suska as Madhyama and Suskardra as adhama.
Dr, Kramrisch interprets the three Vartanris as three methods of producing
light and shade. The word Patra is explained by her as crossing lines. In place
of Hairika Dr. Kramrisch takes the reading Airika and translates it as stumping
Binduja is explained as created out of dots
Modes of applying Paint (Vartana)
Ad. 41 is called Rangavartana. Vartana is said to be of three kinds:
(1) Patraja, (2 ) Hairikaja or ahairikaja ot according to Mss. B.C.V ahaivikajd
and (3) Binduja.
, Patravartana is made with lines having the shape of Patra. Hairikavartana
is said to be very minute ( sCksma ) and Binduvartana is formed with a styptic
(stamblmna ).
Bhavacitra is defined as that type of painting where Rasa such as Smgara etc. is revealed
to a person by mere observation, and which creates wonder in his mind,
Sjikum^ra m Adhyaya 46 of his SilparaUia while discussing Citralak 5 ana defines Citra as
follows—* Whatever moveable and immoveable things are in this world, when represented
according to their respeclne nature are to be called Citra Snkumara gi\es also two types
of classifications of Citra In one he gives citra, ardhacitra and citrabhasa This classifica¬
tion n based on the matenal which is used for representation Citra and Ardha Citra are •
to be made of cither clay, Slucco wood, stone, metals or bricks and Citribhasa i? to be
drawn on walls polished with Cumam (stucco ) with proper colours So following Dr.
CoomarasvNamj we can translate these three varieties as sculpture, relief and painting The
other classification given at the end of the Adhyaya divides citra into Rasi Citra, Dhuli
Citra and Citra
DhuIi Citni IS described as cne made wuh powdered colours and to be drawn on the
Ct-ound as a temporary picture
Citra IS desenbed as one where the representation is like an image reCected in a mirror
and not merely n sketch
Tlic text defining Rasa Citra is incomplete From the second luic of Sloka J46, we
Icam ‘ where Rasa such as Sn^gara etc can be rc\caled by mere obscn-ation ’ The remairt-
mg part of the text must surely be mentioning the word Rasa Citra. Dr V Raghvan, how¬
ever, takes Rasa Citra to mean a painting done wath liquid colours A companson of
viddha, aMtldlia, bh5^aclt^a and dhuliciira mentioned by Somc^%'ara with this classification
niakcs the meaning clear. DhGliciini is identical in both; while viddha can be equated with
Cura and aviddha can be taken as suggested by 5 a>ins that mere sketching i$ not enough
for Cura, \VhiU bhavRCitm H to be equated with Rasaclira
126
viSNitbriAftkanfAftA
Here we have to consider first Ivhat is the Tntanmg of vartani and secondly
what do the words Patra» Hainka^'and^ Bindti nKban.
The word VartanS has been taken by Dr. Stella Kramrisch to mean ‘light
and shade’ and by'Dr. A, K. Coomarasw'aray to mean* ‘shading’. These
scholars have not explaincdhowthcword Vartanli comes to mean * light and shade'
or ‘Shading*. It is therefore necessary to "discuss the meanlDg of theVord
Vartana in this cbmext;
S ta / « •
The word vartika is more familiar to ilie students of Sanskrit literature.
For example, it is used by K5liddsa in Sakuntala^ (Act VI after verse 15, page 210}
vamkaip tavad anaya, also by Bhavabhfiti iii Malatlmfidhava ( Act I) tadupanaya
. citraphalakam citravartikaica. It is also used in this sense in our text ( Ad. 40,
Verse 13).
The word vartika is given in Amarakola as a synonym of a particular Lind
of bird probably a quail. Hemacandra in Jus Abhidh.ma Cintamaiij (Ka. 4
SIo, 116) lakes vartaka to mean'a kind of metal. In his Anek3rtha Latiigraha.
however, he gives two meanings of the svord vartaka. (1) a hoof of a horse
and ( 2} a kind of a bird. MedinJ also mentions vartaka and vartaU in these
senses The old lexicographers do not seem to mention the word vartika m the
sense of a paint brush Their word for it is tGhka;’ so also Medini.*
It must be for this reason that Monier Williams, Macdonell and other
modern lexicographers regard vartika as probably a wrong reading for vamika,
’ also because Jagamangala on K. S mentions vamika as one of the six
limbs of painting (Adi J Adh 3*5»16, p. 33 C. S. S.). RGghavabhatta, however,
accepts the reading vartika and explains it as citrapafe lepaviiesah and quotes
Ajaya as follows—patalepe paksibhede tuhkayam ca vartika.
It is however, not necessary to take vartika as a wrong reading for varmkS;
because it can be explained either as a quill or a brush made of a feather of vartika
quail, or better as equivalent to varti, which means lepa to be applied by
O^I33V^HcmaoaniirA.nRniarks-
vartate vartih—natadau prasiddhSh gatranulepanl (kS 3, ^lo. 303)
The word vartana as such, however, is not given in the lexicons. Monicr
Williams regards vartana as feminine of vartana (n. )=thc act of turning or
roUitiB on o*" moving forward about ( trans. and intrans ). This meaning turn'
ing or rolling on. or moving forward the brush seems to be the meaning in our
1 8tll edition. N. S' 5 1929
2 T0tik& tiila tsyya sySdilckhyasya caTelchsnl AnekSftha sain.gTdha ^
3 TOlikS kuretkayam ca iayyopaVaraicie’pi ca iloVa 102 P.’9 (cf,* Abhila^itartha cintamani
Varum knva tayS Ickhwun wttka nama tS fchavet P.'I96, venc 133,'Mysore 1926'’
CJTRASUrKA 127
I t w X ^
text. The word vartana therefore in otir text bears in the words of
Raghavabhatta the meaning of lepaviSe^ah, what ,Ajaya calls patalepah. It
seems to me that iii earlier terminology the word vartana was confined to lepa-
viSesah and vartika to alirush or anything with which the paint was applied and
when Vartana went out of use both the meanings were given to Vartika. This
meaning of ‘ Lepa ' agrees well also with the colophon of Ad 41 which is called
Rangavariana.' ,
Taking the meaning of the word VartanS as smearing or applying paint
( Rangavartanh) let us now consider the meaning of the words Patraja, Hai-
rikaja and Binduja. Dr. Stella Kramrisch explains these three varieties of Vartana
as follows:—
‘ Methods of producing light and shade are said to be three:—(1) crossing
lines (lit. lines in the form of leaves—patraja, ( 2) by stumping ( airika V and
f 3) by dots (binduja). The first method (of shading) is called (patraja) on
account of lines in the shape of leaves. The airika method is called so because
It is said to be very fine. The binduja method is called so from the restrained
(i.e. not flowing) handling of the brush*.
Dr. A K. Cooraaraswamy explains the three varieties as follows :—
‘The leaf shading (Patra-vartana) is done with lines (rekha) like those on a
leaf; that which is very famt Csuk?ma) is ahafrika—vartana while that done
with an upright (stambharia yukfa) brush is dot—shading (Bindu-Vartana)'.
From the description of the three kinds of Vartana in verses 5, 6, 7 ( Ad.
41) it becomes clear that the words'Pafra, Hairika arid Bindu suggest the different
Ways of applying colour. The word Patra ordinarily means a leaf. BuT leaf of
which tree? This is not clear. 'When the*word Patra alone is used, it means
the Tamala tree. So we may take here the word Patra to mean a leaf of a Tamflla
tree. Still there remains a difficulty. Whether the lines of a paint are to be taken
leafy in shape or'whether they are like Unes on the leaf as Dr. A. K. Coomara-
swamy takes it. Whichever meaning we take the purport seems to be that when
the paint is applied in wavy lines', it was called'PatravartanS.
Now let us take the second vadcly. The reading in our text is Patfahairika
^hich would give ahairika as a second variety. Mss. B.C.V. give the ^reading
Shaivlka. Dr. Stella Kramrisch, however, seems to amend the reading Hairika
mio airika. But this amendation makes the line of a verse short by one syllabic.
I ha\c amended the reading as Patrahairika. I deri^^e the word hairika from
^ ^^nirisch takes the reading airika io place of Hairika, This, how-c^ier, makes one
less in the metre.
^25 visNUDIlARMOTTAnA
f
Hira (m)^ or Hiril meaning a band, a strip or a fillet or a ^eI^ or artery So
JiainkavartanS would mean applving paint with thin bands
The word Bindu ordinarsly would mean a dot Bui ihal meaning cannot be
taken here because iti verse 7 (Ad 41 ) Bindurckhatva i e dotty lines are regarded
as defects in painting Therefore, the word Bindu should be taken in accordance
,with the other two words as the name of a tree Hemacandra in his Nighanpi-
‘seja gives the word Bmdu in the synonym of JngudF Its leaves have the shape
of an egg Its oil IS famous for stickiness ( compare ^Skuntala etc and Sanskfla
sahityaman vanaspati by Bapalal Vaidya) So Bmduja vart'inS would mean
applying paint with lines in the form of the leaves of Ingudi Tins identification
of Bindu with Ingudi has an additional justification because its oil is well known
for Its stickiness and therefore would serve as an astringent (sfamhhanayukta)
It is likely that in this variety of VartanS the oil of Ingudi might have been used
Critical amljsis of Cilra—
Another important coatuhulion of Citrasuira is its treatment of Gunas,
Do^as, Bhusanas and Rasas of Cilra This may be on the analogy of KSvja-
Sastra whose mam topics are the Gupas, Dojas, Alarpkaras and Rasas Verses
7 and 8 ( Ad 41 ) and verses 17, 18 ( Ad 43 ) mention the main defects or Dojas
to be avoided in a Citra
Verses 7 and 8 (Ad 41) mention the following—(1 ) Daurbalya-fccble-
ness, (2) Bindutekhatva dotty lines, (3) avibhaktatva lack of dislmclness, (4)
Brhadgandatva-large cheeks, (5) Brhados{hatva-largc lips, (6) Drhannetratva-
large eyes, (7) Samviruddhatva-comranness to facts and (8) manavakarata,
mere a human form Verses 17 and 18 (Ad 43) mention (1) Daurbaiya,
(2) Sthularekhatva-coarse or thickish line, (3) Avibhaktatva. (4) Bihadga-
ndatva, (5) Brhadosfhatva, (6) Brhannetratva, (7) Vakrafekhatva crooked
hne and ( 8 ) varnanSra saipkara mixture of colours (; e confusion of colours )
We find here, m this list, Sthularckhatva is substituted for Dindurekhatva
meaning being probably the same Vakrarckhatva is in place of Samviruddhalva
and Vattjasamkara m place of manavakarati, probably varnasamkara and
samviruddhalva arc identical and vakrarekhatva and manavakarata may ultimately
convey the same meaning The meaning of munavakarata is not quite clear
Why should a human form be regarded as a defect ?
pr Stella Kratnnsch and Dr A K Coomarsvvamy translate the lines as
if
follows —
^ Indistinct, uneven and in'irticulatc delmeatton, representation of
human figure with Ups (too ) thick, and testicles (too ) and unrcstiMticd
) If vrc, however, take Hira or HirJ =;= smclcai Arhctea ihe meaning would lines In
shap^ of Uaves of gmelma Arborca
CITR^SUIRA
129
C in Its movements and actions)—such are the defects of chitra ( pictorial art)
(Page 52, Vijnudharmottara) Weakness of dots or lines, absence of clear
definition (avibhaktatva), the representation of human figures (manavakarata),
with testicles, lips or eyes too large or anything exaggerated are said to be the
faults (do 5 a) of painting’ (Journal of the American Oriental Society,
No 52, 1932 P 14 A K Coomaraswamy )
In order to accept this interpretation, we will have to change the reading ’
manavakarata ceti into manavakaratayam ca
If we, however, take the clue from vakrarekhatva, the meaning might be
that merely drawing a curve hue m the form of a human figure is no art This
is supported by the words akaramatrakam sattve in the description of aviddha
variety of painting in Manasolljsa Ad 1, Vimsatih 3, verse 902 (GOS ) and
ndlamikaramatrakam in Silparatna Ad 46, verse 146 The point emphasized
in both the works is that merely drawing a form is no art Our text adds the
word manava which would mean that merely drawing a human figure with a
zigzag line is really a defect Manasollasa gives two kinds of painting—one j
called viddha and the other aviddha The viddha is one where the sadrsya or
semblance is like a reflection m a mirror This is the approved type When a
painter without any purpose just draws something witlibut any clear notion as
to what he wants to do and just draws a mere form of being is called aviddha
which IS not approved tvpe This idea is more clearly stated in ^ilparatna,^,
where it is said that that is a citra or painting m which semblance is like a reflec- ,
tion in a mirror, mere form is not enough
Coming to the topic of Gunas or merits of painting, verse 9 (Ad 41 )
gives the following —
Sthana-position, pramana-proportionate measurement, bhulamba-perpen-
dicular reaching to the ground, Madhuratva, sweetness, vibhaktata-distinctness,
s3dr§va*semblance, ksaya>diminution and vfddhi-augmentation The same list is
given more correctly m verse 19 (Ad 43)
Verse 10 (Ad 41) analyses the four elements of painting namely rekha,
vartana, bhusana and varna Rekha® may be interpreted as line or better the
harmony of lines in a figure Vartana according to what is said above would
mean smeanng or application of colour It implies probably proficiency in
depicting emotions through brush work Varna means, of course, colour It
might imply proficiency in harmonizing the colour How bhfisana should be
I Nalamjl.inmatral,am
'i 17
130
VI5SUDIIARMOTTAK\
interpreted is not clcar^ literally, it means decoration Line 2 of \crse 10 (Ad
41 ) according to the reading adopted in the twt nicans one should henov, what
js bhii^ana in citrakarma i e acts of pninlmg If wc, howe\cr, adopt the reading
of MSS A and F cilrakarmaiva bhOjana, it would mean that the act of pamtioe is
Itself a decoration Tins houever, gives no definite meaning because we cannot
say, what is implied by decoration Docs it mean ornaments worn by male and
female figures in a picture or docs it refer to the decorati\c parts of a picture such
as beautiful borders found in old paintings'^ These two meanings would be
inappropnatc here because ordinarily we would have the reading bhusanam and
not bhusanam and secondly because m this analysis of general elements reference
to particular items in painting such as ornaments worn by human figures or
decorative borders would be very clumsy 1 therefore, prefer to take the word
bhu§ana in the sense of sobha or saundarya^ ? e beauty in. general With this
meamng citrakannavva bhu^ana would mean that the act of painting Uself is the
act of creating beauty
We learn from verse 11 (Ad 41 ) as to how these different elements sre
appreciated by diETcrcnt classes of persons The teachers or preceptors admire
rckht* harmony of lines in a figure and the experts vartana delineation of emotion
(bluwa) through brush work Women want bhu§ana decoration or beauty in
picture while the ordinary people look for rich colours Therefore, m p^intenc
efforts should be made to include all these elements so that it would be appreciated
by all ( sarvasya cittagrahanam verse 12)
Objects usually depicted m painting
In painting kings should be drawn like gods The bodily harr of the kings
should be drawn one by one The sages gapdharvas dajt>as with donavas
ministers, brahmins sanrivatsara, and the family priest should have the measure
of the Bhadra type The sages should have the matted locks of hair and the
black antelope skin as upper garment They should be emaciated but full of
1 The words alamkara and bhu$ana cf bhajapain s>at alarp kriyS— CAmarakoia— fcS **
iloka 101 and atarnkirastu bhiijatiah—(Abhidh5Tiacinl5matti Ka 3 iloLa 313 ) have more
or less an identical meaning It may be interesting to nutc thcmcaorns fiiven to the word
alamkflra by Vamana with Teference to poetry He says K^vyaip grShyani alamkarSI
Saandaryamalankarah (Kavyalank3rasi3tra—Adhi 1 ad ] sutra J 2}
(Ad 16 ) refers to bhvi?a 9 a or Vibhu^na a? one of the 36 lak^a^as It is defined in two
ways as follows —
voi ir (G o s )
CITRASUTBA
131
lustre The gods and the gandharva should be done without crowns but with
crests The brahmins full of brahma lustre should wear white clothes The
ministers, samvatsara and purohita should be shown with all kinds of ornaments
but not with gaudy decorations They should be done without crowns but with
turbans Daityas and Danavas have frowning looks, round eyes and terrific
faces Their dress should be arrogant The vidyadharas should have the
measurement of the Bhadra type They should be shown with their wives They
should wear ornaments and garlands They should hold swords in the hands
They should be shown either on the earth or in the sky The lOnnaras, snakes
and Raksasas should be of the Malavya measurement, yaksas oftheRucakaand the
chief amongst men of the §a§aka measure In the representation of the pi^acas,
dwarfs, hump-backed and pramathas enjoying the earth, there are no rules^ of
measure and form The measurements of the women of all these should be in
accordance with their male counter parts Kinnaras are of two types—one hav¬
ing human-faces and equine-bodies and others with human-bodies and equine-
faces Those with equme-faces should be lustrous and wear all types of orna¬
ments They should be engaged m singing and playing upon musical instruments
Raksasas should be frightening with their hair erect and eyes deformed The
Magas should have the form of gods but with snake-hoods All Yaksas have
been described as beanng ornaments The pramathas amongst gods are devoid
of any proportionate measurement and so also the pisacas Ganas of the gods
should have the faces of different ammals and should wear vanous kinds of
dresses and bear vanous kinds of weapons They should be engaged in various
kinds of sports and activities But the ganas of Vi§nu should have identical
forms, amongst them they are of four types The ganas of Vasudeva should be
similar to Vasudeva, of Samkarsana to Samkarsapa, of Pradyurana to Pradyumna
and of Aniruddha to Amruddha They have the dignity of the respective deities
and carry their respective arms They should be respectively dark like the petals
of the blue lotus, white as the moon, green like emerald and red like vermilhon
The courtesans should have the measure of Rucaka Their dress should be
glittering and appropriate to Srngara Modest women of noble family should
be of the size of Malavya They should wear ornaments but should not have
very showy dress The wives of Daityas, Danavas, Yaksas and Raksasas should
be shown beautiful Their mothers should be shown in their own forms The
Wives of Pisacas should have the forms of Pisacas Widows should be shown
With white hair and white dress and without any kind of ornaments Kubja-
Hunch backed Vamanika dwarfish, and old woman should not be shown beauti¬
ful Old Kancukr should be shown m the retinue of the royal harem
1 I have adopted the reading of Ms F m^Smyamatab kSryS rupSnijama'astalhA verse 17
132
VISMUmiARMOTTARA
The vaiSya should be of RucaVa size and jSudrd of the iaiaka size They
should base their dresses appropriate to their caste The wi\es of Daitjas etc.
should be accompanied with attendant women
The commander of an army should be shown strong, proud, tall, with
strong shoulders, hands and neck, with big head, strong chest, prominent nose
and broad chin, with a forehead having three wavy lines and hawk like c>es and
with firm hips Soldiers generally should be painted with frowns on their faces
The foot-soldiers should be done going forth beanng or using weapons Their
dress should be shown somewhat tucked^ up and their appearance arrogant
The soldiers carrying swords and annoUrs^ should have the bodies of Kamilaki
type The good archers and bowmen should have uncovered thighs Their
dress should not be very showy and they should wear shoes
Elephants, horses etc should be shown according to their descriptions
The elephant-riders should have swarthy complexions Their hair should be
tied in matted locks and they should wear ornaments The dress of the horse-
riders and charioteer should be of the northern type and the dress of the bards
should be showy Their veins should be shown on their throats and eyes should
be looking upwards The town criers should be tawny m colour and with
squint-eyed The staff bearers should be tall and somewhat like the Danavas
In the battle, one should not represent the fighting pairs as tawny or squint-eyed
Their dress should be neither very showy nor very mild The door-keeper
should have the sword hanging on the left and staff (in the hand)
Merchants should wear turbans on iheir heads The singers and dancers
should be shown in showy dress and engaged in tumne the muscal instruments
Respectable persons of towns and villages should have nearly grey hair i e should
be shown approaching old age They should wear white dress and good orna¬
ments They should have mturally pleasvnt looks and be courteous and of
easy movements An artisan should be represented as engrossed in his own
crafts Wrestlers should be drawn tall with lofty strong limbs neck and head,
with hair Innamg downwards and excited
Dulls, lions and such other animals should be shown as sitted in their proper
surroundings
The forms of invisible ennttes have been described on the analogy of things
found in the world The representations of observable should be made as com¬
plete as possible because m painting exact likeness is most important Men
of different country should be shown after knowing their form, dress and colour
1 There is no nf amenduve the reading in verse 34
5 If we amend ihe reading vunna into canna, then the meaiuns would be ihirid
CITRA3UTRA 133
or caste (varna) The seat, the bed, conveyance and dress should be drawn
after knowing carefully the country, employment, position and occupation
Rivers should be shown in human form with full pitchers in their hands
and their knees should be bent Their vehicles should also be shown The
beautiful globe of the earth should be shown m a hand of islands Mountains
should be shown with peaks in their hands Oceans should be shown with
vessels containing jewels m the hands In the halo of seas, water should be shown,
The symbols of weapons should be slightly shown on the heads A pitcher
should be shown as a general symbol of (nine) nidhis—treasures, of these
Sankha should be shown by a conch and padma by a lotus and of the remaining^
nidhis each one it to be executed should be shown distinct and with proper body
Rosary (Aksamald) and a (book) Pustaka should be shown as sign of celestial things
Now the author takes up the dilTerent natural objects such as sky, earth,
mountains etc
The sky should be shown colourless and full of birds and the celestial dome
should be shown with stars Earth should be shown with forest^regions and
watery regions with their distinguishing traits A mountain should be shown
With assemblages of rocks, peaks, minerals, trees, cataracts and snakes Forest
IS to be shown with different kinds of trees birds and beasts of prey Water is
to be represented with innumerable fish and tortoises, with lotus-eyed acquaUc
animals and with other qualities natural to water
A city IS to be shown with beautiful temples palaces markets, houses and
with beautiful boulevards A village should be shown by a collection of residences
with gardens Fortresses may be shown as placed on good ground with ram¬
parts, watch towers and mounds Market-places should be shown with articles
of merchandise Places for drinking should be shown with beverages and drinking
cups and bustling with people Gamblers should be shown without the upper
garments, the winners amongst them full of joy and the loosers full of grief
Battle-field is to be shown with an army consisting of four parts (elephants,
chinots cavalry and infantry j with men engaged m fighting and as covered with
blood and the limbs of the dead A cremation ground should be shown with
funeral piles and dead bodies A road is to be shown with a caravan accom¬
panied by camels and other animals carrying loads
Night may be represented with moon planets and stars, with people asleep
or doing the usual nocturnal things Thieves also may be shown approaching
Earlier part of the night may be indicated by an abhisirika going to her lover
t Verse 56 IS obscure 1 ha\c connected the first line with the second line of verse 55 and taken
the following order of words—Ses'loam ( nidhTnam ) kSiyasya nidhch avyav'sh anurupaiah
sadf^ah sadehab prthak karya The second Une also about AksamalS nnd Pustaka is not
clear It may be that verse 56 pertains also to the nine nidhis
134
VISNtrfajM RMOTTA RA
Early morning may be shown with reddish dawn, wuh a dimming lamp and a
crying cock People should be shown ready for uork so also a monkey The
e\ening can be shown by its red glow and with brahmins engaged in ihcir daily
rehgious ptacliees Darkness may be indicated with men moving with the touch
of the h^nds The moon hglti may be represented with the moon and the bloom
ing of kiimuda (lotus) flowers A step-well should be shown with full of
flower dust and cohered with heaps of leases
Rain should be shown pouring and a man well co^^^ed Shining sun may
be shown by creatures suflenng from heat Spnng can be shown by the delighted
men and women, with blooming vernal trees and bees and cuckoos m abundance
Summer is to be shown by men tired, the creatures gone under the shade, the
bufTaloes lying m mud and with the ponds dned up Rainy season is to be shown
With tigers and lions gone into the caves, birds lymg in trees, clquds hanging
down with water and shining with rainbows and flashes of hghtcnings Sarad
can be shown with the earth covered with npe corns, trees with fruits and waters
with full of lotuses and swans Hemanta can be shown with \apoury voter
places, with harvested earth and the ends of horizon full of fog Si^ira should be
shown with the horizon covered with snow, With mea shivering with cold and
with rejoiced crows and elephants
After observing the world, Ode should indicate seasons by means of flowers
and fruits of trees and by means of ruts of animals
Sentiments (Rasa) and expressions should be depicted as explained
b-^fore Dance poses discussed before should be appropriately used for depiction
The Hheme or subject matter (vastu) of painting becomes uUama tc best
done when the application of paint is wet ( 5rdra ) of the middle ( madhyama )
type, when it is dr> ( iuska ) but it is worst ( adhima ) when it is somewhat wet
and somewhat dry Here the meaning seems to be that the theme or subject
matter (vastu) of painting should be painted, when it is all moist or when it is
all dry Best results arc achieved m the first mode while tolerable in the second
mode: does not vield good
A painting appropriately done m accordance with time country and age is
lucky otherwise bad Thus a painting drawn with Katanas—execution, Kinti
_beauty A elegance and Rasa sentiments executed by the genius of the
well versed artists becomes the real (new) eye (sight) for seeing and fulfils all
desire
Citrarasas
While describing the various aspects of painting our (ext makes reference
to rasas several times Ad 43 discusses this very important topic of Rasa 11
1 I have adopted the reading of MiS A B and V in ilo
CITRASUTKA
135
starts With the enumeration of the well-known nine Rasas m, Sjrgara, Hasya,
Karuna, Vira, Raudra, Bhayanaka, Bibhatsa, Adbhuta and 5anta These
are called Citrarasas probably to distinguish them from N5tyarasas and Ka\ 7 a-
rasas The text proceeds to describe how each of these rasas is expressed m
painting
The depiction of that which is beautiful on account of the sweetness of
Jo\ely colour, charm and figure expresses Srngara Rasa So also the depiction of
dress and the ornaments of man of taste
The depiction of that which is dwarf-like, hunch-backed or somewhat
deformed in appearance with a hand contracted without purpose expresses Hasya
Rasa
The delineation of pitiableness seen m begging, separation, desertion, sale,
Calamity expresses Karupa rasa
The depiction of harshness, passion, anger, poisoning food for killing ex¬
presses Raudra rasa so also the depiction of glamourous weapons and ornaments
The depiction of noble style m such things as bravery accompatned by
affirmatn eness expresses Vira rasa So also the wonderful look with pnde and
frown
The depiction of that which is wicked, unpleasing to look at, funous, violent,
murderous etc expresses Bhayanaka Rasa
The depiction of cremation ground, forbidding scene and place of execution
expresses Bibhatsa Rasa
The depiction of people showing one another, something with subdued
horripilation expresses ‘Adbhuta Rasa
The depiction of a calm figure, meditation, concentration, yogic posture
and a great number of ascetics expresses ^anta Rasa
Incidental to the treatment of Rasa there are interesting references as to
where particular rasas should be depicted and where not These remarks seem
to embody a tradition which must have a considerable basis m actual practice
Srngara, Hasya and ^anta should be represented in homes, while the others
are prohibited All the rasas, however, can be depicted in a temple of gods and
a temple of kings ® In the residential houses of the royal guarters (xejma) all
rasas cannot be painted, but in the assembly halls of the royal quarters, all rasas
may be depicted Barring the royal assembly hall and the temple of gods m no
houses should be painted scenes of battle, cremation grounds, pathetic scenes,
dead bodies and sufienng of misery and ugly and unauspicious things All those
1 The meaning of the first line of verse 9 is not at all clear
*■ The worij is Nrpilaya (tU ) Jt means a place where Kings live I hate taken this word
here to refer to the temples in the memoty of past kings cf PratimJ nSt^Va Act In
136
VI S\U DH akmottai^ a
things which are regarded as auspicious by people such as bulls with Nidhr homs,
elephants ^\ith Nidhi trunk, (nine) Nidhis, Vidyadharas, snges, Garuda and
Hanuman should be generally shown in them
In one^s own house the work of pamttng should not be done by oneself
This seems to be an advice given to the artist
Verses 31 to 15 ( Ad 43) refer to other arts of representation which are not
included m the art of pamling But our text extends the meaning of the word
Citra to include carving and sculpture and v\e are told that the rules which appiv
m painting also hold good about these arts Tlie first is called khatapurva and
this IS done in Gold Silver and Copper The word khatapurva (lit ) means
that in which digging is done first The second is called Pratimakarana This
IS done m stone, wood and metals After these two, Pustakarma which is to be
done in a similar way is shortly described This word may be interpreted as
modelling
Modelling IS of two types Ghana and Su:>ira t c solid and hollow The
solid can be made with metals, stones wood and clay While the hollow can
be made with leather, wood and metal In the leather modelling clay has to
be firmly applied In the same way a picture can be wo\en m the threads of a
cloth ^ This meaning becomes quite clear if wc adopt the reading of Mss B C
& F Sutre’ Vanavidbanena It may be noted that Varia is one of 64 arts
The place of painting in arts
Each art is more or less extolled in the course of its treatment but jt is only
in the case of Citra that we find the statement that Citra excels all arts (verse
3S, Ad 43 ) This may not be taken merely as a con\*enlional glonfication but
may be regarded as expressing the opinion of the author of this llird khanda
of V D whoever he or she may be
A fine picture is described m the following words—“The surface is as if
glistening and embracing^ as if coming out to meet the spectator, the sweetness
IS as if smiling, it looks as if endowed with life * As if to emphasise the same
point again, the author says in the next fine • that is { beautiful) painting, which
looks as if breathing ( §Io 2U 22 .Ad 43 )
It IS staled that whatever is said m Cilrasutra is just mentioning the subject
( 1 e very bnef account) It would be impossible lo discuss this subject at length
] Dr Stella Kraninsth. translates \-astra by canv-a^ But I think, however that ihis refers
the >^caving of figures with the coloured threads of cloth This process seems to be similar
With which js employed by Paioia makers who wicave ihc figures of elephants etc
2 SDciv3nakarmat>i Kimasutra adhi 1 adhja 3 saira The commentary Javamangal^
refers lo pusuVarma as one of the kal^ P 31
3 cf The Gujirati idiom Mrinc vajagivu This jdiom is used when sight i» v-tiy
cffectiATC
CITRASUTKA
137
even ic many hundreds of years Whatever has not been «aid here, should be
taken from the section on dancing and whatever is not said m dancing, is to be
taken from Citra This shows the intimate relationship that existed between
Nfita and Citra in Ancient India Painting is extolled as the best of all arts’ some¬
thing hke Sumeru among mountains Ganida amongst birds and king amongst
people It IS supposed to be very auspicious if install-d in a home It fulfils the
main four purposes of human life wr Dhanna, Artha, Kama and Mok?a ( verses
36 to 29, Ad 43)
Marks of good and bad paintings
The ground surface for painting should have well polished space, should
be free from gnats and fleas, be bright, pure and well projected
A painting becomes very beautiful, when an expert draws it with glossv,
clear, and unobliquc’ lines The dress should be according to the particular
country It should not suffer from want of proportionate measurement and
beautj (Sooha)
A painting becomes liable to censure if it suffers from want of proper posi
tion and sentiment (rasa) and has an emptv look in the ejes of the figure depicted
It thus becomes void of life Those who desire auspiciousness should avoid
pictures depicting a figure with defective limbs, stained dispirited and incidence
by persons overcome svich fear and disease and with dishctellcd hair An mtclli-
tent artist should draw what is well understood by him He should never draw
anything which he does not know A painting done by the experts, well versed
in isstras brings prosperity and removes adversity A pamiing purifies and rc-
tnoves anxiety and bnogs forth prosperity and causes unequalled and pure delight,
kills the bad dreams and pleases the house-deity The place where Citra is placed,
does not look empty He who paints waves, flames, smoke and the banner ac¬
cording to the movement of the wand is a great painter He vcnly knows paint¬
ing who can depict a sleeping person with life movement and dead person void of
it(fc who can show a clear distinction between a sleeping and dead whi h ap
patently seems similar), and who can show distinctlv the heights and depths
The harmony in the different parts of a painting is worthy of praise b„t one
should avoid placing one figure in front of another
* Tluj Mtw Is echoed by Bheja mhj SanurVnsaW SaindHi'a—ft( (ci) ra-n fu ani
hlpitiSrp riulihaip lokas>’a ca Ad. 71- ho 1, p C 05 ) when he laji that
Ctira I r iTaiiunj is ihc cmcir’- of ^ ( erts ) ai*d los-ed t?} jvor
- 1 h»vc Bdoyted ihe rcadins cf S' S', ( Verses 14 IS AJ 41 )
^ cf iikuntah NiavncnMU rndektu oSthmiaid sa. The cnrxSi.-T cf ft't'-jA:! CSa a
V 'IP, 133 Viw Vil«3r««-
136
VIS\UDHA3?iS0TTAT?A
things which are regarded as auspicious by people such as bulls with Kidhi horns,
elephants with Nidhi trunk, (nine) Nidhis, VidyMharas, sages, Garuda and
Hinuman should be generally shown in them
In one's own house the work of painting should not be done by oneself
This seems to be an advice given to the artist
Verses 31 to ( Ad 43 ) refer to other arts of representation which arc not
included m the art of painting But our text extends the meaning of the word
CiUa to include car\ing and sculpture and we are told that the rules which apply
in painting also hold good about these arts The first is called khatapurx^a and
this lb dons in Gold, Silver and Copper The word khitapurva (lit ) mean^
that in which digging is done first The second is called Fratimakarana This
js done m stone, wood and metals After these two, pLstakarma v\hich is to be
done in a similar way is shortly described This word may be interpreted as
modelling
Modelling ts of two types Ghana and Susira j e solid and hollow The
solid can be made with metals, stones wood and clay While the hollow can
be made with leather, wood and metal In the leather modelling, clay has to
be firmly applied In the same way a picture can be woven in the threads of a
cloth * This meaning becomes quite clear if we adopt the reading of Mss B C
(SL F Sutre’ Vanavjdh5nena It may be noted that Vana is one of 64 arts
Tlie place ol pamtmg m ails
Each art is more or less extolled m the course of its treatraeni but it is only
in the case of Citra that we find the statement that Citra excels all arts ( verse
3R, Ad 43) This may not be taken merely as a conventional glofification but
may be regarded as expressing the opinion of the author of this tl ird Khapda
of V D whoever he or she may be
A fine picture is described in the following words—“ The surface is as if
glistening and embracing^ as if coming out to meet the spectator, the sweetness
IS as if smiling, looks as if endowed with life As if to emphasise the same
point acain, the author says m the next line that is ( beautiful) paintmg, which
looks as if breathing ( Slo 21, 22 , Ad 43 )
It IS stated that whatever is saad m Cilrasutra is just mentioning tlic subject
( I c very bnef account) It would be impossible to discuss this subject at length
1 Dr Stdta Krarunsch translates ^‘asira by canvits Uat I Ihtflfe, howevcf that lhas refers to
ihe vt-ivmg <?f ftsvirts w^th the coloured threads of cloth This process seems to be sam lar
which n by who ihc figures of tlcpha-ritv etc
2 SucivinaUrmSm Kdmasiitra^adhi J» adhyd 3 sfltra Id The commentary lajamanpaU
refers to pustikarrua as one the kalas P 31
3 qf The Gtyiraii idiom bdzine This idiom is used when some sight « very
effective
CITRASUTKA
137
even in many hundreds of years Whatever has not been caid here, should be
taken from the section on dancing and whatever is not said m dancing, is to be
taken from Citra. This shows the intimate relationship that existed between
Npta and Citra in Ancient India Painting is extolled as the best of all arts’ some¬
thing like Sumeru among mountains, Garuda amongst birds and king amongst
people It is supposed to be very auspicious if installed m a home It fulfils the
roam four purposes of human hfe \iz Dharma, Artha, Kama and Mokja (verses
36 to :9, Ad 43)
Marks of good and bad paintings
The ground surface for painting should have well polished space, should
he free from gnats and fleas, be bright, pure and well pro’ected
A painting becomes very beautiful, when an expert draws it with glossy,
clear, and unoblique’ lines The dress should be according to the particular
country It should not suffer from want of proportionate measurement and
heauti (Sobha)
A painting becomes liable to censure, if it suffers from want of proper posi¬
tion and sentiment ( rasa ) and has an emptv look m the ejes of the figure depicted
It thus becomes void of life Those who desire auspiciousness should avoid
pictures depicting a figure with defective limbs, stained, dispirited and incidence
hy persons overcome w^th fear and disease and with dishevelled Inir An intclli-
sent artist should draw what is well understood by him He should never draw
anything which he does not know A painting done by the experts, well versed
m dSstras brings prosperity and removes adversity A painting punfics and rc-
rooves anxiety and bnngs forth prosperity and causes unequalled and pure delight,
kills the bad dreams and pleases the houvc-dcity The place where Citra is placed,
does not look empty He who paints waves, flames, smoke and the banner ac¬
cording to the movement of the wind is a great painter He vcnly J nows paint-
Wg who can depict a sleeping person with lifc-movcment and dead person void of
“(le who can show a clear distinction between a sleeping and dead whi h ap-
raronily seems similar), and who can show distinctly the heights and depths
Ihe harmony m the ditTcrcnt pans of a painting is wonhy ol praise b„t one
should avoid placing one figure m front of another
* Tbs I, echc«d by Lnh-* Sanirirjaoj S:tne‘d'j-rS('')(ci) Tnhj
r'uV.harjiIcbs*)'* ca 71, rv I. p 152 GO-S i wVa hs ujj
Citra pi "Uis h ihc rnocirts cf iih htpis ( «rti )i-i by pri?;..
* 1 biMc a<lo{>f«l iSc readirg of 5* S*, I \c-vs 15 AJ y
cf &li.iajt 4 la NinnOTMU pfaJetnu cib*"-iitslil s-, Tbe ccc::cir- iry
V 'I t*. 223 Xaai XiyiMprwit-
VI
PRATCVIALAKSANA
Images and fheir i^orsliip
After Citrasutra our text in adhySyas 44 to 85 gives what it calls Pratuna
lak^ana Tlie word Pratimalak§ana literally means a work giving an accurate
descnption of Pratuna Just as Citrasutra is a compendium of painting so PralimJ
lak^ana would be a compendium of sculpture But there is one important differ
ence Citrasutra gives instructions about the art of making pictures or paint
mgs Pratimalak 5 ana, however, does no such thing It may be that whatever,
has been, said m Citrasutra about the technique, is to be taken holding good
With regard to Pratima making, of course with necessary modifications In fact
verses 31, 32 of Ad * 43 in clear words tell us that forming representation of objects
by chiselling stone or by hollowing metal, wood etc is like Citia
This however, docs not lessen the importance of Pratimalaksana because
it describes iconographic features of divine beings and what is more important
the significance of the vanous emblems (Hetus) in terms of religion and philo¬
sophy It provides Us with important clues for interpreting and understanding
rebgious sculptures of anocot India
The PratimiJakjapa attempts to desenbe the icons of major and minor
Hindu deities with Vijiju, of course as the teutral figure
Trimiirti
AdhySya 44 starts with a dcscnption of the divine Innity Here, Iiowcvcr,
Vi^iju is the supreme god because Viioudharmottara Ukc the Ytjiju purSija is
a work, which worships the supreme divinity under the name of Vijpu The
three Murtis or forms of Vistju are called Brahml, Vaijnavl and Raudri The
"Brahmllonn is fne resifii o1 'Frajas.YncXampiv'i di'Stfrtv'a aaS fneTtaudftonanias
The three Guijas respectively represent the three functions of creation, preservation
and destruction
Before wc proceed with the description of the images of the Inmty, it will
be proper to disCuss here the question put by Vajra to Mlrkantjeya regarding the
justification of worshipping the supreme deity through images in Adhj^ja 46
I i
ctig ?1>3 II I ^
r?Pi5tt^3 ri|3 a^iTjnct *tHi
*)ilf tl
pitAflMALAKSA'jfA
139
Vajra says:
*?urusa, the supreme soul is described by you as void of all qualities of sense sucb
as Rupa, Gandha, Rasa, ^abda and Sparta. So how can He have any image?’
MSrkaij(Jeya explains:
3^p5=fli <T?’i ?r|4 sT^r^r: hi si^if^Hi ii
mqira -stnrJjciii i
Hnn?;: i
^ II
3|^ HcHtfltcllI. I
Ijqq cT^I^Kli rHU2[fT: »J3 II
‘ Prakrti and Vikrti l.e. the noumenal state and the phenomenal state arc
two natures' of the supreme soul. That nature of His which is invisible is called
Prakfti, while that which has a form is to be called Vikrti. The whole world
consists of such a Purusa. Worship and meditation of the supreme being are
possible only when He is endowed with a form and therefore He has to be wor-
shipped in a particular form. The invisible mode is cognisable with great strain
only. It is for this reason that the supreme deity of His own free will has mani¬
fested Himself through different forms. Even gods worship His manifested form.
It is for this reason that, only Siikara (manifest in forms ) is worshipped. ’ The
form has a reason ( Hetu). Listen to the explanation that I give.
The above passage provides a sort of religio-philosophical basis for the
representation of the Supreme divinity through material forms.
Thus in the explanations of the Hetus given throughout the different adhya-
yns of Pratimalaksana we have keys to unlock the meaning of the various forms
and symbols found in Hindu Sculpture. Herein lies the great importance of this
section as said above.
Brahma. Now let us come to the description of the images of the Vaijnas’a’s
trinity. First comes the description of Brahmi mOrti i.e. the image of Brahman
( Ad. 46 ).
Brahman is represented as having four faces, four arras and matted hair
(Jail) on bis head and wearing the skin of a black antelope as a garmenh He
MO
VtSVtTDnAUHOTIARA
Sits in the 'PadinSsana pose in a chariot drawn by seven swans Each of flis
nghl arms is put in the palm of each of the left hand * One right hand cames
rosarv and the other Kaman^alu He wears all kinds of ornaments He
pos<ess''s all auspicious marks and has a tranquil form He looks saumya and
Tojya 1 1 happy and w orthy of propitiation This god should be made in an imace
or a painting or m modelling’ as having the aura of the tip of a lotus petaP and eyes
closed m m'‘ditation This is the form of the matchless one of which the world
IS consrrfcrfed With thrs sort of body, he bears the whofe body
Ad 63, which consists of three verses gises again the bncf dcscnption of the
form of Brahman The follosi'ing are the additional points In adhyaya 44 he
IS described as sitting in Padraasana posture Here he is described as silting
on a petal of a lotus The second noteworthy point is the mentioa of SSvitrL
SVi^ IS plvccd on Iws kCt lap Sbe has tolowr of llw swn awd canws & rosary
m her hand
The explanation of the * Hctu ’ underlying the image of Brahman is described
m Ad 46 Brahman is described as having the aura of the tip of a lotus petal
because Brahman is the rajasimurti of Visnu and the colour of rajas is red
The four faces of Brahman represent the four Vedas the eastern ^gveda
the southern Yajurveda the western SSmaveda and the northern Atharvaveda
His four arms represent four directions The whole universe comes out of waters
therefore Brahma has a Kamanijalu in his hand which carries the waters The
rosary which he is counting represents time Th“ Yajna is performed by two
types of ceremonies Sukla and aSukla or krsns This is represented by the
antelope sKm which Brahman wears The seven lokas are symbolised by the
seven sw'ans dragyug the chariot of Brahitian The lotus arising out of the navel
of Visnu represents Mahi the earth Its pericarp is the Meru mountain The
mojntam represents steadiness Sitting on it wnth earthly (Parthwa) Padm=I
Sana Brahma becomes absorbed m meditation He thinks of his highest state
wluch IS formless He sits with his eyes dosed lo med tation for visualising the
worlds
1 PadmSsaai—Dr Stella Kramr sch translates it as oa a lotus seat Here th- lotus seat
js not intcaded for two reasons one thecompoumt Baddhapa-Jrtilsana is more talisfactonly
expta ned as one s ttiag in a padmJsana posture baddhaip padmSsaaam yena Another
reaton a that he is repres nted as s it ng in a chariot drawn by seven swans
2 6CD and 7 g ve rather an unusual representation of Brahman nam ly putting each nfiht
arm m the palm of each left hand Thus Iwo left hands do not req.t» re any other emblems
to be placed m ih arms If th s is corre t inierpretal on what I have said in the notes
Vol 1 P 393 IS not necessary
3 cf CtrasQtra adhySya 43 iloVas 31 33.
4 ef Ad 4d dolcA 7 PadnrtgraiaiLnlbhah.
PRAtUHLAKSAWA
l4i
The herbs maintain the world These are symbolized in the matted hair
of Brahman who is all pervading The different branches of learning enlighten
the world These arc signified by his ornaments
Visua, Now we come to Visnu as an aspect of Vijpavl trinity ( Ad 44 and
47) Visnu, the god of gods should be represented as seated on Garuda, wearing
celestial yellow garment with Kansjubha brightening his bosom and with all sorts
of ornaments His complexion would be like (hat of a cloud laden with water
He has four faces and eight ^arms The eastern face is called Saumya i e placid,
Southern Narasimha t e indicating Narasimha, western Kapila i e indicating
Kapila and northern Varaha i e indicating Varaha He wears Vanamald He
carries in his right hands an arrow, a rosary, a club etc (and in his feft hands )
hide, cloth and rainbow
In Adhyaya 60 the image of Vijnu is described as having one face and two
arms carrying Gada and Cakra The figure is just like a human being The
other composition of his figure has been described previously The unfathom¬
able IS the Mava of Visnu which binds the world and Gada in the hand of god which
always subdues all creatures in this Maya Gada is also Lak§ml, Dhjti, Kirti,
Pusli, Sraddha, Sarasvati, Gayatri the mother of the Vedas and also Kalaratn
The Cakra represents a rotation of the world Cakra in the hand of Vijpu
represents this rotation as well as the wheel of dharma, the wheel of time and the
wheel of planets The god Visnu himself is immoveable and he moves the wheel
For this reason he is called Calcrahasta
Ad 85, ihc last adhyaya of Pratimalaksana describes Visnu as Vasudeva
tn detail Here Vi§nu is represented as having one face and four arms The
colour and ornaments are as before The neck should have auspicious lines and
be like a conch An excellent kundala adorns his ear He wears armlets, has
fastened bracelets around the armlets and is decorated by the VanamalS, bis
Kau-jtubha on his bosom and Kinla on his head The lotus over his head should
have charming pericarps His arms are long with hands formed into fists The
nails of his fingers arc thin and reddish.
• the ttM of verses 11,12 and 13 of Ad 44 is not satisfactory If we may amend the text
fol]oi\s, wc can make out some consistent
Correct the reading—Saumya
sense
mto
Saurya
^ MusalSdayab
into
Nfusilisayah
„ Gram
mio
Siraqi or Siram
ff
„ Dlianuiccndram
mto
Dhanu^kta
•»
,, Capc5U
into
vamesu
Mith these amendaUons the translation would be as follows Hu easlcm faa is that
of the sun, southern of Narasimha western of kapita and northern of VorJha Ihs right
handi carry an arrow, a rosary, a club and a iivcrd Hu left hands carry a shield, a plough-
ihare n bow and a due.
i42
ViSKObniVftUdTTATtA
Tht earth irt the form of a woman Should be shown fn ihe nuddle of the space
between his feet, with her eharniiiig middle beautified by the tvavy^ trivalJ abo\c
the navel The feet of the god should be placed in her hands The distance
between the two feet should be one T5la and (he right fool should be slightly
stretched out The earth should be shown amazed with the sight of the god and
lOoTtmg Within.
The dress below the waist should be upto the knee Vanamilia also should
ex:tcnd upto the knee The sacred thread ( ) should extend upto the
navel
In lus right hand^here should be a full blown lotus, while m she left, there
should be a conch, having the shape of a conch On the right, Gada should
be represented as a goddess having beaiitifiil eyes and a thin middle She must
be represented as a MugdhS—/ ^ young woman in her innocence, ado ned with
all ornaments and having a c3nriara m her hands and looking at the god The
right hand of the god should be placed on her head
Ati Image of Cakra with a hanging belly adorned with all ornaments and
\vith round and wide"* open eyes should be placed On the left The image should
also have a Camara la Jus hand and mtenily looking at the god
The Hetu of the various emblems of Visnii are explained in Adhy^yas 47
and 85 As in Adhyaya 46 so here also this world is regarded as Vikpi le
transformation of the Supreme Pcing This Vikrti or transformation is called
Krsna It sustains the world Here the word Krsna should be interpreted as
sugg-stmg the Kr?na form of Vi^nu because in the next ver^e it is said that the lord,
the creator of all creatures, assumes form
The significance of all his ornaments is described as follows —^Thc Kaustubba
suggests pure knowledge The world is bound together by the long variegated
and dark Vanamila Avidya, which keeps the world going is his garment
Vidya IS represented as white, while Ajnana as black, but Avidya bemg regarded
aS lying between Ajnana and Vldya^ is iherefare neither black nor white There
fore the lushest Vidya supports the mtervemns* space which u Uke the bright
gold Garuda to be known as mind pervading the bodies of all creatures
There is nothing quicker and stronger than mind
1 Dr Slclla K Page UO—Tnvali—three folds above the ravel of a woman regarded as a mark
of beauty
2 Dr S c!Ia accepts the reading Nftta in place of vrtU and ifanshtcs it as • the eyes wiJ* opsrt
as ta dancins ,
3 Dr Stella takes the second Uncorthc>erse 6 Kfcmng to the iniervcntofi space (aotariiaTi;
with marm vn vetst 7 I havttver prefer to take U sMth Vidyi
144
VlSWOnARMOTTARA
a mirror (JSdaria ), a waterpot ( kama^^alu ) and a skin (carma ) The colour
of the -whole iraasc should resemble the rays of the moon
Now wc come to the GaurlSvara form of Siva as described m AdhySya 55
In this form, Siva should be made -with one face, two eyes and four arms and
-wearing all ornaments The left part of his body should consist of his beloved—
Parvatl The rosary and trident should be m his right hands and m the left ones
mirror and blue lotus Here, the Gaurtsvara form of Siva symbolizes the identity
in difTercncc (abhcdabhinna) of Prak^ti and Pura^
The abose described image js of the HSna form of Mahadeva
Adhyaya 59 describes the Bhairava form of MahSdeva Phairava should
be made having round and ta-wny eyes, -with a hanging belly, a terrible face on
account of tusks (damsfra). wide nostrils, and a garland of Kapalas (skulls),
and frightfully adorned on all sides with ornaments in the form of snakes He
wears clephant-skm as the upper garment, resembling in colour a wafer laden
cloud He has many arms, huge and long like Sala trees, bearing all sorts of
weapons as ornaraents and possessed of sharp and beautiful nails
When the pose of this image is Sacikrta (ic bent sideways) or as Dr
Gopmath Rao says—swaying with right hip—it represents Bhairava and when
It IS sanmukha (i e frontal), it represents MahakSla
Parvatl should not be placed in front of him but on his left In his hand
there should be a snake, with which he is represented as frightening her ( Parvatl)
There should be Matfgana and other attendents bearing various forms around hrm
We have already seen in Adhyiya 48 that the union of Pdrvatl and S*va
signifies the identity—in—difference of Puiuja and Prakpi
The five faces of MahSdeva should be known as SadyojSta, VSmadeva,
Aghora, Tatpurusa and liana SadyojSta represents Mahl (earth), Vamadeva,
Jala (water), Aghora, Tejas (light), Tatpuruja, Vdyu and liana, Akasa (sky)
The eastern face suggests MahSdeva The three eyes of which are the sun,
the moon and the fire The terrible southern face is called Bhairava which
has been described above The western face is called Nandivaktra The northern
face is known as Umavaktra and the fifth face should be known as Sadaiiia
All have three eyes except the face of Vamadeva which has only two ejes
The face of Mahadeva is the earth ( bhQmih ), the Bhairava* face is the light
(tejas) The Nandi face is the wind ( \ayo), Uma* face is the waters ( apah),
1 Dr Stella ktamnsch iranslites as ‘ the Bhairava face should be nest ’ (Ihige 71) Her
reading may be Tatab but she suggests the reading Tejasa. which is confirmed by the Mss.
A,BC
2 Dr Stella Kramnsch trmulates aj—• the face belonging to Ru Jra 15 called the water *
(Page 71 >.
PRATIMALAKSANA
145
and the SadaSiva face is the sky (5k5^a ) Two bands are allotted to each face
The ten arms represent ten directions In the hands of Maliadeva, there should
be a rosary (aksantala) and a Kamandalu, in the hands of Sadasiva ‘ the bow
(cjpa) and arrow (bana) and staff C danda) and the citron (matulunga) id the
hands of Bhairava
The staff shows death and Matuluaga indicates the seed of the world
Mafulunga is full of small seeds and therefore it is also called Bijapura These
small seeds represent the atoms which constitute the world In the hands of
Nandi there should be a shield (cariua) and a trident ( §ula) They represent
Dhanna and VySkarana The Trisuladanija is invisible (avyakta) but becomes
visible (Vyakta) in the three sulas The three sulas represent Sattva, Rajas,
.and Tamas
Mirror and blue lotus m the hands of Parvati indicate pure knowledge and
detachment The matted locks of Mahadeva represent the vanegated Brahman
The digit of the moon on the face of 5iva represents his divine power, and VASuki,
the king of serpents repiesents anger which subdues the three worlds The tigcr-
skia represents the wide and variegated Trsna (desire) The Bull is the divine
four footed Dharma
The whiteness of Mahadeva represents Prahrti because Prakfti, wluch means
the absence of creation is white t e colourless
I have so tor given in detail the descriptions of the images of the Vaijijavi
Triniurti and also each of its aspects Now I propose to gne in substance, the
descriptions of the representations of other deities classifying them wherever
possible under each aspect of the trinity.
Agtl (Ad 5G)—Agni should be depicted red in colour, wearing a Jaja
(matted hair) and having smoke as his garment He should be surrounded
with Carnes He has three eyes, four arms, and four tusks He bears a beard
He should be represented seated in a chanot having smoke as its insignia and
^>nd as a charioteer The chariot should be drawn by four parrots
Svahi sus on his left lap She carries a v essci of jewels In the tu origin hands
of Agni a flame and a Indent should be shown and m his left hand a rosarj
Nothing IS said about tUc other left hand
Agnfs colour is red because he represents TajsS (light) which is red His
other features iic having ® charioteer, smoke as a banner and garment
resembhng the sacrifiaal fire arc according to ihctcxtobviousand therefore require
no explarauon His rosary, trident, matted hair, three eyes and all ornaments
are to be interpreted as these are m the case of §i\a His flame reprcsects the
Sietla KrtmJWtTitiWbi'” sad anew shcvJd t< « ibc Satihw fs'p*.
146
VUNWIIABifOmiU
highest light, and with it accepts the oblation and then he carries it to all the
gods Hjs four tusks represent the vagdaoda ( punishing with speech ), DJugdanda
(punishing with derision) or adopting the reading Digdan^a ( punishing with
confining), Dhanadaijda (fine), and Vndhadanda (punishing by death) His
beard symbolizes the holy Darbha grass The parrots yoked to his chariot
symbolize the four vedas
Vatmia (Ad 51)—The colour of Vartina, the lord of the aquatic animals
resembles a glossy lapis lazuli ( Vaidfirya) He has four hands and a somewhat
hanging belly He wears white cloth and a pearl necklace in addition to the
usual ‘ all ornaments’ He sils m a chariot of seven swans
On his left there should be a flag bearing the sign of Makara and over his
bead there should be a white umbrella His wife Gaurl beautiful m all limbs
has two hands She is seated on his left lap She holds in her left hand a blue
lotus Her right hand is on the back of the god In the right hands of the god,
Varuna there should be a lotus and a noose and in the left hands a conch and a
vessel of jewels On his right is Ganga on a Makara and a lotus in her hands
She IS as white as the moon and has a beautiful face On his left, is YamunJ
on a tortoise with a camara and a blue lotus m her hands She is placid Her
colour IS like a blue lotus'
Varuna is said to be Lkc the glossy lapis lazuh because that is the colour
of the waters and he has assumed that colour to favour them Hts garment
IS said to be white because the waters have a beautiful white colour Thus waters
have two colours dark and white Vajra asks ‘how the colours of waters
are natural and unnatural '' MSrkatjiJeya explains this contradiction thus
^Thc taidOrya (lapis lazuh ) like colour of waters is atathya { unnatural) because
that IS due to the form of the sky reflected In waters Its natural form is the ooe
seen in a cataract which resembles the rays of the moon *
The blue lotus in the left hand of Gauri is explained thus ‘ the lord of croco*
dilcs is Pradyumna, the god of love His wife Gaun is to be known as Rati the
wife of kama Thus the blue lotus in the left hand of Gaun expresses saubhSsya
( conjugal felicity )
The lotus in the hand of Varupa is the symbol of Dharma The conch
represents riches, the noose ( paia ) represents the bondage of samsara ( world )
and the vessel of jewels in his hand represents the earth which bears all sorts of
ratnas (jewels) White umbrella represents his fame (ya^a) and Makara is
the symbol of happiness The ornaments on his hands are to be explained as in
the case of Drahman
I pr Kraipnsch trauslates here the word nuaja as cloud’
PRAtlMALAKSAKA
147
Sct'cn swans in the chariot are seven seas namely of lavdna, ksira, 3jyodd,
dadhimanda, sura, iksurasa and svaduda Yamuna represents Chhaya ( shadow")
and Bhagirathi Siddhi (achievement) Makara and Tortoise represent virility
(virya) and time ( kala) respectively The verse 20 misses one line It explains
the lotus in the hand of Ganga and the blue lotus in the hand of Yamun5
Kubera (Ad 53)—Dhanada or Kubera is white like a leaf of lotus and yellOw
like gold This latter refers to the colour of his garment as will be seen from
verses 8 and 9
Kubera has a hanging belly and four arms His left eye is tawny Hd
bears a moustache and two large teeth on his face His dress is that of a northerner
(udicya) wearing a kavaca and is fully decorated with ornaments with a heavy
necklace resting on his belly His crest should be bent towards the left He
rides on a man (naravahana)
The goddess Rddhi should be represented as sitting on his left lap She
has two hands The right one is on the back of the god and the left one bears
a vessel of jewels
In the right hands of Kubera there Should be a Gada and a Sakti In his
feet are a banner bearing an emblem of hon and a Sibika Standing* near him
should be drawn the two treasures ^^ankha and Padma in good form On his
side a face coming out of Sankha and Padma should be shown Kubera is to be
known as Amruddha Wearing of all ornaments is to be explained as in the case
of Brahman
Gold is the best of all kinds of wealth Therefore his dress has the colour
of gold The Sakti weapon represents power and club (Gada) art of govern¬
ment (Dan^aniti) Rddhi represents the course of worldly life and the vessel
of jewels in her hand represents gunas The man whom he rides represents
sovereignly Sankha and Padma by iheir very forms indicate treasures The
significance of ketu (banner) and Sibika seem to be explained in verse 12 but
the meaning is not clear His two large teeth represent punishment and favour,
\ama ( Ad 51 )—The colour of Yama is like that of a water laden cloud
The colour of his garment is like that of heated gold and is adorned with all
ornaments He has four hands He rides a buffalo His wife, Dhuraorna
has the colour resembling the blue lotus She has two hands and is seated on his
left lap
In the right hands of Yama a sword and a staff should be shown On the
top of the staff a head should be placed with a garland of flames One of hu
' ft hands is on the back of DhQmorna and the other carries a shield ( ht leather)
' I anwded the readms Nidhiorathitaa laio SacriJ'uJihiteu tan a-'peari to be na
r’actd ihrouch a rmtiake of a tcnbcv
148 VISNUDHASMOlTARA
The right hand of DhCmonja is oa the bati: of Yama and the left hand hold* a
beautiful Matulunga (citron)
On his < Yama s) right side should be placed the good looking Cilragapta
having two hands and dressed in northern style His right hand holds a pen
and the left one a leaf On the left side of Yama should be placed the dreadful
looking Kala holding a noose
Yama is identified with Sankar^apa assuming a tSmasika body In this
aspect he destroys ( ht gathers) the world in himself in order to maintain the
cosmic order His colour like that of i blue lotus symbolizes Tamogu^a.
His buffalo represents the unconsciousness of men at the time of death
and staff represents the unfailing death His garment is to be explained
as in the case of Vasudeva and his four hands as in the case of Brahman The
weanng of all kinds of ornaments ts to be explained as in the case of Brahman
His Swotd ( khads^^ ) and Carman ( shield ) are to be explained as in the case of
Aniruddha Dhutnoma suggests Kalaratn and the byapuraka in her hand is
to be explained m the case of Suhn Citragupta represents the soul which is in
all bodies The leaf on which writing is done represents Dharma and the pen
in the hand represents Adharma Kala who moves along Yama repres“n{s
Kala (time) in its own form The noose in his hand represents the different
and ttrnblc path of Yama
Vajia here raises certain doubts Samkat?ana is supposed to be the des
tractive aspect of Vijnu Now Samkarfapa ts said to possess a body as white as
the moon Hovv then Yama who has the same function of the destroying the
universe as Samkar^aija has the dark body’ Markandeya removes the difficulty
by saying that when Rudra the Samkar^ana aspect of Vijnu gathers into himself
all the worlds then the whole folded world reaches the stage of Prakrti—un
diffcrcntntcd position At that time he destroys the worlds irt the colour of
Praktti Here wc are not clearly told as to what is the colour of Pfak^ti but
from the context we have to take it to mean dark colour When Yama repeatedly
destroys the ci aturcs he does not reach the stage of Prakrti but he is Vikilra i e
transformation consisting of happiness and misery At that time he assumes
the colour of ViKara transformatoiy stage and destroys the world
Cl abas (Planets) (Ad 69)—
( 1 ) Qhaiima—( Mars) should be made like Agni sitting m golden chanot
drawn by eight horses 'v
(2) Budba—(Mercury) should be made like Vijnu His chanot is like
that of Bhauma
( 3 ) Bthaspati—(Jupiter) should be of the colour of heated gold hanng
two hands In one he holds a book and in the other a rosary He wears a yellow
gaiment and » adorned by all the omamenii Hit chariot m as above
PftAtrsiALAKSANA
149
(4 ) ^ukra ( Venus ) should have a white tody weanng a white gannent
He has two hands one holding treasure (Nidhi) and the other a book He
sits in a silver chariot drawn by ten horses
(5) Sam (Saturn) should be dark, wearing dark garment His body
IS covered with veins He has two hands, one bearing a staff and the other a
rosary He sits on an iron-chanot drawn by eight serpents
(6) Rahu sits in a silver'car drawn by eight horses Only his head should
be shown joined to one arm His hair should be raised and eyes turned up The
single hand which is on the right, should be shown empty
(7) Ketu should be represented just hkc Bhaunia His chariot, however,
IS drawn by ten horses while that of Bhauma eight horses
Aditya ( Adhyaya 67)
We come now to the images of the Sun and the Moon They are respec¬
tively other forms of Agni and Varuna who have been already described
Ravi has a good form His colour is as red as Smdura ( Vermilion ) His
moustache is bright He has four arms He is dressed m northern style and
'Vears armours, He is adorned with all ornaments He wears a girdle which
IS known as Yaviyunga ( which is the same as avyanga—the girdle worn by Maga
priests ) Ra§mi i e reigns in his right and left hands should be shown They
have the forms of a garland whose threads go up and full of all kinds of flowers
Danda' having an anthropomorphic form should be placed on his left and
Pingala of a deep tawny colour on his right Both should wear dresses of northern
style The remaining two hands of the sun god should be on the heads of these
tvio Pingala carries a leaf and a pen in his hands Damjla has a shield (ht leather)
3nd a trident (Sola) in his hands On the left side of the sun god should be placed
A banner basing an emblem of lion
His four sons—Resanta, Yama and two Manus—should be placed on his
b\o sides His four wives (Rajni), Rikjubha, Chayd and Suvarcald should
also be placed on his two sides The Sun, who is the lord of planets should be
surrounded by them
He should be represented as seated in a chanot His chariot has one wheel,
Sue spokes and is drawn by seven horses His charioteer is Aruna
Coming to the significance of his emblems—hts seven horses arc seven
metres They arc G'ljatri Usnlk, Anujluba, DrhalT, Panlti, Tnjlubh and Jagatr
With the njs in his hands, he holds the entire universe so also he bears The
Jion on his banner represents Dltarma in person Weanng a girdle is really
* Thit Daoda » rcfardcd 8S a contxscuon of the ecrunander in<h.cf of
wltttlsl boiti and it JdenUfied vnth Skaadi- by T A GcptMili Rto (UIl Pate 30J-4)
tltATiMAtAKSA^A
151
His charioteer is Ambara ( sky ) The twenty-eight Nabsatras arc supposed
to be his 28 wives, all exceedingly beautiful In the alternative, eighty-two Bhavas,
(conditions of a planet or astrological houses) may be represented as a result
of a particular crossing or conjunction of the planets and Deha The myth regard¬
ing the Naksatra wives js given as follows.—
When there was a war between the gods and the demons, the stars assumed
many bodies because these udus (constellations) bad the respectne forms of gods,
who were them masters Therefore they were killed by the Danavas The god
whose form was taken by Naksatra became his Devata or deity All these gods
were made to take the form of women Their number was formerly known They
became the Daksaymi women and were saluted by all the people
The moon is the father of all this world By his creation the entire universe
IS filled with joy He represents the quiet aspect of Visnu The two lilies m
his hands represent joy and graciousness SobhS and Kanti represent their own
natures le splendour and beauty The moon is of white colour because on
account of it being the essence of water The abode of water is known as Amrta
or deathless nector Therefore immortality is his garment The banner of lion
indicates Dliarma while his ten horses indicate ten direcuons
Kuniara (Ad 71)—Kuroara has four forms —
C1) Kumara, (2) Skanda, ( 3 ) Viiakba and ( 4 ) Guha
( I ) Kumara has six faces He is adorned with a tuft of hair He wears
a red garment and ndes a peacock. In his right bands are a cock and a bell In
lus left there are the vaijayanli banner and a spear (^kti)
(2) Skanda, (3) Vjsakha and ( 4) Guha—should be made like Kumdr*
but with this difference that they do not possess six faces and do not nde peacocks.
Vhsudeva having four hands became Kumara in order to lead the army of
gods.
Bhadrakal —has 18 hands She stands in the posture of Ahdha m her chariot
drawn by four lions. Sixteen hands of Bhadrakall bear the following sixteen
emblems They are the rosary (ak§amala), the Indent (tn^ula ), the sword
( kadga), the shield (carma ), the bow (capa). the arrow ( baija ), the conch
(Sankha), the lotus (padma), spoon (sruk), ladle (sruv), the altar (\cdl),
the waterpot (kamaodalu ), staff (danda)> spear (lakti), the black antelope
skin ( k^nujina )
* ^7: I RH t(3CRf RtRijn! =1?: ii s
^ tFPRT. 1 RSTUtlt 3^ 3Rr=TT II ^
By ccmpaimG d:«e Usu, I at the followins amendauoasor the text
Rtsft Rd {THUiasi 'RIRI TIRWqt M
152
•VKNUDHAIl^fOTtAftA
and the fire (agni) One hand is shown bestowing peace (iantikara )
and the other cariying a \essel of jewels
PrajapaiJ—should be made like Brahman but without the swan and four-
faces
Vinayaka—has the face of an elephant and four arms A trident and a
rosary arc in his nght bands and in the left an axe and a vessel full of
sweets (modaka ) No ttisA: should be shown on his left side The
vessel full of modakas should be on the tip of his fingers (lit hand )
He has a drooping belly and stiff ears He wears a tiger skin for his
garments and a serpent as his sacred thread One' foot should be on
the foot stool and the other should be on the seat
Vissakarma—IS the form of the Sun and consequently he bears a lustrous
appearance He has two hands in forni ( Ad 26, verses 50 53 ) Viivakanoa
represents the creative aspect of Visnu
Ananta (Ad 65)—The form of Ananta or Seja should be as white as the
moon His hoods should be shining with jewels He has four hands He
wears a blue garment and the usual ornaments He has many hoods The
beautiful earth goddess should be placed on the middle hood
Lotus and Pestle ( Musala) arc in bis fight hands and the plough and the
conch in the left The celestial ocean should be represented by him
The Talavfkja represents the entire world The plough and pestle have
been explained formerly so also VanamaH because the Seja supports the whole
earth with her mountains and forests She ( earth ) is to be shown on the middle
hood This position of the goddess earth surrounded by hoods indicates desires
( kamah )
Tumhnni (Ad 66)—
Tumburu should be shown surrounded by divine mothers He sits on a
seated bull like 5arva He has four faces His form is to be understood as
desenbed m the case ofMahadeva The hand which carnes hlatuluftga {in the
case of Mahadeva) carnes KapSla (skull) in this case It has been mentioned
that Tryambaka should carry MatuVvj-'ga On his right side two divine niolbcrs
Jays and Vijaya should be placed and on his left Jayanti and Aparajila All
these divmc mothers have two hands and four faces Skulls should be shown
lu the left hands of all
1 Dr Stella kramrisch translates as—‘He should have a fool-stool and one foot only should
lie -on Ihe scat *
2 Dr Kramnsch traoslatcs it as ‘ m his hand is the sea of Iiguor' The leadmg she lakci it
ai kare tasya surSmbudhih. This would require the fifth hand and there is no assocaatioa
of the sea of hquor with Ananta
I’EATIMALAKSANA
153
In the right hand of Jaya a staff should be placed while m the hand of
Vijaya a sword having the colour of wet collynum Jayanti holds a rosary and
Aparajita a shng for throwing stones
One foot of all of them should be placed on foot-stools The right one
should be placed on the vehicle and the left one (presumably the one on the foot¬
stool ) should be made bent
Jaya rides a man, Vijaya an owl, Jayanti a horse and Aparajita a cloud.
The colour of Jaya is white, Vijaya red, Jayanti yellow and Aparajita black.
The colour of the great god Tumburu is white like the rays of moon
Mahi (The Earth-goodess) (Ad 61)—
The colour of the earth goddess is that of a parrot She has four arms.
Her garment is like the beams of moon She is decorated with all sorts of
ornaments She carries in her hands vessels of jewel, corn, medicine and a lotus
Her ’parrot colour is due to the fact that she bears all kinds of herbs
She sits on the back of the four Dinganagas i e four elephants of the
quarters Her white garment represents Dharma, while the lotus in her hand
suggests Artha
Akasa ( Gagana ) { Ad 62)—
In Ad 61 Markandeya says that he is going to speak about the form
(RQpam) of the formless which is determined by the Siddhas He describes
It in this adhyaya (Ad 62)
The colour of the sky is like a blue lotus and wears a garment of the same
colour His two hands carry the sun and the moon
It would be convenient to note here the form of Vyoman also The difference
between Aka^a and Vyoman lies m the fact that the former is a personified deity
'''hile the latter has the shape of a Mcru
V>omnn(Ad 7$ )—
Vyoman at the base is quadrangular Then becomes circular. Then
somewhat quadrangular. Then again somessliat quadrangular U is formed
bke Mcru This third part of Vjoman is called Bhadrapqha
The following are the characteristics of a Bhadrapitha It has columns
‘'’nd Its middle portion is quadrangular. On a part of it is another Bhadrapitha.
Ofi this Bhadrapitha a lotus should be placed The lotus has eight beautiful
petals In the midst of ihc pcric.arp there is the sun-god On the petals one
should make Dik-palas according to ihcir rcspccU\c directions Below the
* According to Dr Knmrisch ‘ ihe goddess is traduionall) said to be of bngbi colour*.
The reading m her text « luklawroJ but the correct reading is howexcr. suVax arcj. wt tch
\ ^f’P^'^pnaieb explained as aboxc
154
\ lS\UDnAUMOTTATl\
Bhadrapith'i (/e the hjgher one) the earth should be shown and aba\e £he
Bhadrap1{ha the lotus Antanksa should be shown Then all the chief gods should
be placed there Thus the Vjoman is said to consist of all gods
Saras^ati (Ad 64}—
The goddess Sarasvatr has a face like that of Ihe moon and stands eicnly
on her feet (samapada praljstha She has four hands She is as usual de
coraled wuh all ornaments In her neht hands she holds a Ptistaka and an
AKsamila ind m her left hands Wainavi and Kamandalu
Her four hands represent the four Vedas and the Puslaka ( book ) represents
all Sastias Kamandalu in her hand is supposed to contain the immortal essence
of all the Saslras and the rosary in her hand mboUzes lime ( Lala) The Vaina\i
IS achievement ( Siddhi )* personified Her face represents Savitn qt G'ljatri—
the foremost of all Her e>cs represent the sun and the moon
She IS also described in \erse 25 of Ad 73 the only difference bemq that
tEic hand cirrying the \amavi carries a Tniuli
The word Vainavi requires som*^ clarification I have amended the reading
Vainavi into Vinaiva because Sarasvat! iS trad iionally known to carry ^lna and
not a fiiitc of bamboo which is the usual meaning of the word \ainavi On
further cons-iderat on however I find that it is not necessary to change the read
mg into Vitiaiva because the word Vainavi does not mean Vina It mdicaies
the staff of Vina which must have been made of bamboo as in the case of the
present Ekatara
Lflksmi ( Ad S2 )—
Laksmi IS described as the mother of the whole world and Ihe wife ofAisnu
Lak§mi when depicted near Han 1 as two hands She has celestial beauty She
carries lotus m her hand and she is adorned with alt sorts of ornaments Her
coloiar IS white ( gaura) and wears a vvhitc garment She 35 matchless in beauty
'Wiien iiie gobbess is represemeb separii^iy ■^ue’nus'iour^nanbs aiib seated
on a beautiful Simhlsana 1 e a Uoct seat On this Simhasana a lotus wxth beauCi
ful pericarp and eight petals should be made On Ihe pericarp she sits 1 ke
Virayaka In her right hand should be a lotus with a big stalk touching the
end of the armlet and m her left should be a charming nectar pot and similarly
other two hands should carry a bilva and a conch Behind her back there should
be a pair of elephants bending down the pots as if in the act of pouring On her
head should be made a charming lotus
1 Dr Krmr ch i kev ihc rcid ns
2 Tbe swat st. It ms requ red to play upon, a \uvi Compare the word fneafls
praKnt^ah v n3>3m whch by rutjhl comes lo mein an expert
PEATI^IAL^KSA^’A
155
Conch represents good luck, bilva the whole world, and the nectar-pot
the essence of waters and the lotus in her hand represents wealth The pair of
elephants personifies the two ’Nidhis ur ^ankha and Padma
Near the goddess Laksml there should be goddess RajasrI, Svargalaksmi,
Brahmilaksmi and Jayalaksmi All should be made beautiful and well-orm-
mented
The lotus on which Laksml stands should be understood Kesava himself
The mother of the world does not remain alone even for a moment without
Madusudana
Mann { Ad 70 )—
The present Manu should have the marks of a king The future Manu
should be made without any ornaments He should have matted hair, a Kaman-
dalu and a rosary He should be shown engaged in austerities and eventhough
lean should be full of lustre
If the future Manus are to be made for some "purpose they have the
forms like that of Savarn: Manu
The past Manus should have the marks of a King At the back Revanta
should be depicted on the back of a horse like the sun
Virupaksa ( Ad 57 )—
The Colophon names this adhyaya Nirrtirupanirmana In fact, however.
It Starts with the description of Virup'iksa and Nirrti is described in the capacity
of his wife
Virupaksa is 'flame-faced with whirling ejes His hair is raised up His
tcard and moustache (lit hair on the face ) are green and his features are terrific
His colour IS reddish-dark He has two hands and carries a long ctaflT He
"ears black garments and all ornaments as usual He has a camel and has in
his hands a staff and reins or better staff like reins ( of camel)
His Wife, Nirfti is to be placed on his left side Her limbs are dirk and so
■s her face She carries a noosc in her hand
Virupaksa represents kala (time) and Nirfli. death He is the cmbodi-
ttient of darkness therefore he is dark in colour and wears black garments
The staff m his hind signifies killing and the reins of the camd signify
honJage while his vehicle, the camel represents Mahamoha (great infatuation J
1 Kramnsch translates as * the ccfwh and the lotus rtpreseni tsvo seas “
* • adopt the reading of A C kars Vyojrena
^ The reading adopted here is prin sudandah palira-ab
VIS VUDfURMOTT APA
155
Va3w(Ad 58)—
Vayu (whidi is invisible to the eye) takes a visible form He has the colour
of the sky The sky has the form of the nind His garments are puffed up
\Mth wind He has two hands Siva, his wife, is on lus left side She is the
personification of motion (Gamancccha lit will to move) Wind is represented
as holding the ends of his garment and so also his wife Siv5 His face is averted
and his hair is dishevelled Vayu has the smell and the colour of the object n
contacts (Sama^rayat), so, on account of being in contact with sky, hi^ colour
IS that of collynum The sky is also his garment His wife Siva represents
motion Anila i c Vayu is Aniniddha i e unobstructed
Dharma ( Ad 77 )—
He has four faces, four arms and four feet He wears a white garment
and all kinds of ornaments He should be made white In his right hand he
holds a rosary and a book in Ins left
The image of the personified vyavasjya^ should be placed on his right,
similarly Sukha having an excellent form should be placed on his left The
two hands of Dharma should be placed on their heads
The Aksamala represents lime, while the book, 3gama or knowledge The
four faces of Dharma represent Yajna (sacrifice), Sat>a (truth) Tapas
(austerity) and Dana (gift giving) His four hands represent space, lime
cleanness and purity His four feet represent Sfuti, Smrti, Sadacara (goo^l
conduct) and the good to oneself He is white in colour on account of
dominance of Saliva Knowledge is his garment
He has fourteen wnes wc Kirti. Lak^mi Dlmi, Medba, Pus^i SraddW
Kriyi, Mali, Buddhi, Lajj’i, Sanli Siddhi and Tusp All of them have two
hands and are beautiful They afe all lustrous and well ornamented These
fourteen are said to be the openings of Dharma E\cn though Dharma stands
alone he should be represented as accompanied by his wncs
> airagj-a { Ad 78/1 )—
Pradyumna becomes Vairagya when he assumes the body of Kapili Tfirs
Kapila as said m verse 5 is the ancient sage who preached the Samkhya phiJo
sophy In fact, in hfs C the colophon calls this adhy5ya Kapilarupanimi3nani
One hand ( of VatrAgya ) should be placed in the middle and the other* than
that should be attached to it Tlie other two hands carry a Sinkha and a
1 V>avas5>'a—Son of Dharma by Vapu—daughter of Daltia SccWiffiam Monicr 5
English Dictionary
2 The meaning seems to be that the hands are in D}i\ananiudri indtcaiing meditation
reading of B n Pdepied here
^RATlMAL\Ka\^A J57
(disc) Thus he has four hands He is seated m a Padmasana pose His
eyes are closed m meditation Kapda should be made difficult to look at on
account of his knot of braided hair or if we take the word man^ala to mean halo,
the meaning would be the halo of light round his matted hair His shoulders
are muscular on account of breath control His feet are marked with the emblem
of lotus He weJirs the skin of a deer and an auspicious Yajnopaviia He is
seated on the pericarp of the great Mantra’ lotus
He IS great on account of his Vairagya absorbed in meditation He con¬
centrates on highest stage Thus docs the great preacher of Samkhja protect
the norld
Narasimlia (Ad 7b 2 )—
The great Lord Visnu assuming the form of Narasimha is named Jnana
( knowledge ) by the meditators (dhyanavidbhih )
Nrsimha has thick shoulders, waist and neck The middle part of his
body and his belly are lean He has the face of a lion and the body of a man
He has a halo round him He wears a blue garment He is adorned with orna¬
ments His face and mane are surrounded with flames He stands in Tilidha
pose He should be represented as tearing the bosom of Hjranyaka^tpu with
his sharp nails Hiranyakasipu should hate the colour of the blue lotus and
should be placed on the knees of the god
Hiranyakasipu represents ajHiana (ignorance ) while Bliagavan m the form
of Samkarsana is the destroyer of ignorance The impurity of the moving ones
is of three kinds arising out of speech, mind and body The god Samkarsana
is constantly teanng up these impurities Han, in the Samkarsana aspect,assumes
the form of Narasimha Han is the destroyer of the three types of darkness of
the moving ones There is no equal to him who is like the lirdamurti ( form*
of the deep reservoir) in this world
The Njsimlia form of ihe god is for ihc purpose of destroying all ignorance
Han in this aspect may be represented in another wav wr as sitting at case on
*hc lion-seai Hts two hands should be placed on the head of Gad! Mis body
IS surrounded by flames He holds a Sankha and a Padim His feet are placed
on the hands of the image of Pfthwi His hands arc beautified by the emblems of
Sankha Cakra Gad’i and Padma His hair is all ficrs
Tlicrc IS the third way of representing Narasimha The lustre of his aurora
’’^'’kes him diflicuh to look at He* may be made XMtb al! ornaments or soid
of ornaments
I The tiorj MjniramahJpadma is rnt clear
' 1 have amended the reading Klrdam3ni into hrdam2rtili tlfda »<• ihe foin of a tifda or a
‘5cep rcsir\oir of water cf ambarjwnnkJtah sc-sc 13
^ According to Dr Kramnwh ‘He shotld bo furnished wiih all irr»’cnen’i (bat) desod of
alt o-namcnis
t
158 \ lS\ t- Dll ARlfOtTAlt A
The Lord of the world is kno\\Jcdge incarnate He is the abode of
and he IS like the skj
Varaha (Ad 79)—
Han as Anvrvddha is Varaha, the embodiment of might and by the power
of his might he lifts up the earth on the up of liis tusk
Varaha may be represented m another ^^ay^ i c as a human boar( Nrvarulii)
like Nrsimha / e human body with the face of a boar He should be represented
on
Se^a should be made with four hands, with beautiful jewelled hoods, wnh
eyes representing wonder and engrossed m looking at the goddess (PrihiM)
In liis hards should be placed the plough and the club and his other two hands
should be shown in the anjah post Snakes are his ornaments
On the back of besa the god should be shown in the ahdln pose
On the span ( nratnt) of his left hand should be placed Vasundhara in the
form of i woman She has two hands and engaged m s'lluntion ( namaskara)
Sankha is depicted in the hand which holds the earth goddess His other hands
si ould carry Padma, Cahra and Gada
Or the god in order to cut off the head of Hiran>ak§a raises his hand hold*
mg a Cakra and faces him { Hiranyak^a) who has raised a trident
Hiran^ak^a represents Anaisvarya (re niightlessness) whom Varlha b>
meins of ai&Mryi over powers Or ^^arJha in human form should be represented
hi e Kapila in meditaliOfl Or he may be represented with two hands m the act
of cairjmg the Pmda ( glebe ) of the earth Or be Tt\a> be represented as the
personification of full anger'' in the midst of manj dana\as In the act of he3J
ing the earth he may either have a hunian’'boar form or a pimple boar forifl
Ho^agma (Ad i>0) —
ffayacriva fee repnneentfeti as a god having (Hq Acad of a feorfe
He should be shown nearinc a blue garment and with a smtitng face H*s feet
should be placed in the hands of the image of the earth
tlayagri^a is Samkarsana form of
The god should be made with eight hands In four of his hands he holds
a conch a wheek fl mice and a lotus personified The other four hands ':hoiild fee
plated on the heads of the personified \ edas because m a former age the god,
Hayagfiva sa\ed the Vedas from Ras^tala where the £rcat demons hid laken
them away
I 1 have adopted the reading of Ms D samagrakrodharupo
PRATIMALAKSANA
159
SaUa (Ad 50)—
^akra, the white one should be placed on an elephant having four tusks
His wife Sact should be seated on his left lap He has four hands while Sad
has two
Sakra of the golden hue wears a blue garment and all kinds of ornaments
His oblique eye should be shown on the forehead Padma (lotus ) and Ankusa
(elephant-goad) are m his right hands while one of his left hand is on the back
of Sad and the other carries the thunderbolt
Saci holds a charming Santanamafijarl in her left hand and the right hand is
placed on the back of the lord of the gods—Sakra
Wearing all ornaments and having four arms are to be explained in the case
of Brahman He having three eyes is to be explained in the case of Sambhii
His hue is golden because he is the source of all light His blue garment represents
the sky
The Ankusa (elephant-goad) in his hand represents command which subdues
all beings The lotus in the hand of the great god represents prosperity ( Lak§mi)
which resides in lotus The thunderbolt ( Vajra ) m the hind of Sakra represents
anger which subdues the wicked
^akra represents Vasudeva and SacI Lak^ml Therefore Sant inamanjarl
in her hand represents Santana or progenj The elephant Airavana represents
artha and his four tusks represent four powers wr Dana (luck), Mantra
(counsel), Prabhu (sovereign) and utvaha (exertion)
Badmambha ( Ad 81 )—
The god Padmanabha should be shown sleeping on sesa 5csa should be
I'crrcscntcd as lying in waters His head dazzles the sight on account of the great
jewels on his hoods Padmanabha—the god of gods has four hands Ore of
his legs IS placed on the lap of Laksmi and the other on the lap—that is the ex¬
panded hood ofksa One of his hands should be extended over the knee, another
should be placed on the navel, the third should be under his head and the remain¬
ing one should be holding a cluster of the Santana flowers Brahma should be
shown on tiic lotus, which sprung from Ins navel Nfadhu and Kaiiabha—two
demons should be shown clinging to the lotus-stalk
Near sesa should be represented in human forms the weapons of \mu
llie two Nasatjas ( Ad 49 )—
The two Nasal) as. the phvMCians of gods should be sfio vn loreibcr T1 e\
have two arms Thev resemble in colour the lotus leaf ard weir the gi'mcms
‘’f the same colour Ihcv have beautiful eves and arc decorated wnh a!! <o*tv
Prnamens
162
V15VUDHARRI0TTARA
one Yava should be made in the pericarp Its circumference should be of one
sixteenth part The remaining part should be filled with eight glossy petals
Vis»arupa (Adhydya 83)—
The cosmic form of Han describes another aspect of Han or Vi|nu which
IS called Viivarupa te * ommprasetit *
The basic four faces arc lo be Vaisnava r e those of \ ijnii On it should
be the Maheivara faces excepting the li^na one On these should be made the
faces of BrahmS The faces of all gods and others should be made sideways aad
upwards The faces of vanous animals also may be represented in these The
s e e>e sights as described in Otrasutia should all be shown m the diffcrcnl
parts of the different heads He should be made as if swallowing everythin'*
In company of all terrific creatures Similarly he should have as many hands
as the artist can make utilizing his knowledcc of Nfttaiastra to represent them
in as many poses as possible Some of the hands may carry weapons some
sacnficial staffs some * sUpa Bhandas i e implcmerits of silpa some kalabMndas
/ e implements of fine arts and some Vadyabhandas / e musical implements
He may be represented in the \ aikuntha form also Three worlds shouU
be shown in the different parts of his body by cilrakarma te by painting Afl
the colours should be shown on the many heads of this god pf multiform
Ad S5—
The last adhyaya of Pratiraalak^anam is called Devodyana Rupa Ninttana
I e the form of a garden of gods The idea seems to present a collective descrip-
iion of all the gods li may also suggesl a garden m which there would be imaces
of all gods Or has il any connection with Ud>ana country'?'
The first 60 verses are devoted lo ihe descnption o^^ ijnu in his vanouS
pects along with his attendants and implements
Sainkiirsana should look like Vasudeva His colour should be white 3 iid
should wear blue dress \ii \be place of Gad^ and Cakja he should hold
and Langala respectively These Musala and Langala should have the beautiful
human forms with a slender waist
Pmdvumna has the form of Vasudeva His colour Js dark like the sprouts
of Purva and he wears whale garment He should hold Capa ( bow ) and arfO'V
in place of Cakra and Gada The bow and arrow should be shown similar to
Musala and Langala (like human forms)
Aiuruddba should be made like this i c Prad^nurtna The colour of hss
body resembles that of the leaf of lotus He wears red garment He should
1 Accord ng to Dr Kramnsch— Others carrying saenfic a! sicks pots of (i ^
Time arts and muse
PEATIMALOKSANA
163
carry shield and sword m place of Cakra and Gada respectively Shield (Carman )
should be in the form of Cakra and the sword should be made tall
The symbols of Cakra etc should be shown shghtly above the heads of the
innges of gods The forms of the weapons like Cakra and others should be made
attractive The excellent banners of gods should be shown on their left They
should be supported on the staffs and accompanied by their own pieces of bunting
The Pratiharas (attendants ) of Vasudeva should have yellowish colour They
are known as Subbadra and Vasiibhadra They hold darts or Javelins m their
hands The Pratiharas of Samkarsana are Ajadha and YajhatSra They are
of blue colour They hold Mudgara The Pratiharas of Pradynimna are Jaya
and Vijaya They are white in colour Both carry swords m their hands The
Pratiharas of Amruddha are Amoda and Pramoda They are red m colour and
holding Sakti in their hands They all have beautiful forms They arc all well
ornamented They have two hands with TarjanI raised Their look should
be fixed on the door Subhadra should be known as Sakra and Vasubhadra as
Hutaiana Asadha should be known as Yama and Yajnatara as VirCpaksa
Jaya should be known as Varuna, the lord of aquatic creatures and Vijaya as
Pavana Amoda should be known as Dhanada and Pramoda as Siva All
these Pratiharas may also have the form of the eight Diggajas i e elephants
There are eight groups of gods The Pratiharas of Vasudeva are known as Anima
and Laghinid, of Samkarsana, Mahima and Prapti, of Pradyurona, Prakamya
•lud isitva, Amoda and Pramoda of Amruddha are known as VaSitva and
Kamavasayita Thus the image of the god with four aspects should be made
^aikvniha should be made of one form only He should be made with four
faces which have been described before If the four faces are made, he becomes
caturmurti i e the god of four aspects The eastern face, which is the chief,
should be made placid The southern one, the face of knowledge should resemble
a hon face The western face, which is terrible, should be the symbol of Ailvarya
Nothing has been said of the northern face The other charactcnstics of the
four faces are to be made as described before
Tarksja should be made four armed Garuda should have the hands in
“fljali pose Vijnu sits at case on his back, holding a lotus in hand On the
"-mgs of Tark 5 >a, Gada and Cakra should be placed 5rl should be shown seated
on Garuda-scat or on the left lap ( of Vijnu ) or God should be made seated on
the body of seja The face of the god should be made difficult lo look at on
ttfcount of the hoods of iesa The god seated on the sesa should have his
four hands empty Cakra and Gada should be made standing near him in human
forms Lak^ml should be made seated on the ieja sespent God Han should be
ttt^fleljing on the 5c?a as his bed The line AirJvati Samudbhede YalhirOpo
'tta>cntah i$ not clear.
164
\ ISMJD HARMOrr
The forms of Npimha VarSha Kcpila ViivarOpa H'ayagri\a PadmanSbha
and Brahma Raudra and Rima the forms of Vjjnu are already desenbed
The £od VamaM should have crooked hmbs and fat body He should
carry stafl and be prepared for study His colour is dark hke dOr^a grass and
wears black antelope skin Trnlkrama in colour resembles llie colour of the
water leaden cloud He bears a staff and a noose and a fankha on his lower hp
(a$ if blowing) Sankha Cakra» Gad5 and Padma should be done m ibeir
natural forms Tlicy should not be shown in human forms and the rest as al
re'idy tavd He has (only) one face which is turned upwards and his c>cs arc
expanded The form$ of Nara and J\ara}arTa haw been described The form of
has been described alone with Han tbeson of Varura Hamsa
JCurma should haie their natural forms But Janardana should be shown as
horned fish Or he should have the form of beautiful woman and should be
decorated with all ornaments She should carry & pot of nectar in her hand and
giMng large gifts The^ king Ffiftu should be made with all the bodily marks of
a Cal ravarun Rama BFiargaxa le Para^urama son of Bhrgu should be
represented as to make him difficult to look at on account of has matted locks
of hair He wears antelope skin and has in axe irt hiS hand Rama DdsaratFt
I c the son of Daiamtha should be represented with royal insienu similarly
Bharata Laksmana and ^atrughna but without a mauh (crest ) Valnnki shoved
be fair in colour His matted hair makes him difficult to look at He is enga?^
in austcnties and he is calm He is neither lean nor fat Darratre^a should be
represeoted like Valmiki
Vjsisa—IS dark m colour and lean in body His malted hair is jcJlow Oa
his mo sides sii his four disciples Sumantu Jaimiui Paila and \aiiani
p!l>ana
Yudliisjhira—'Should b(. made with all ro>al marks
Vfkodani or Bhima—should be shov\n without beard or moustache fat
in body but lean in the middle Re cames a club in his hand
looks obliquely and his e>e brows are contracted
Arjuna—The glorious Arjuna is dark in colour as diir\a gr^ss He bc'ir*
a bow and an arrow He wears a crown and red armlets He is adorn i
by all ornaments
Nakula and Sahadc\a—should be made like two Aivjns They should
carry swords and shields instead of medicinal herbs
ie Draiipadi—should be exceedingly beautiful and resembling ***
colour the blue lotus leaf
1 Here Dr Stcita Kramnsch lakes KrJPi as Knna Knoi w the other name of Dnitipa<*)
PIi^TISIAl.Al.SAI^A
165
Devaki—Resembles m colour the white lotus
Yasoda—Should be of the colour of the Madhuka flower. She as Ekh-
namsd stands between Rama (Bala) and Krsna Her left hand is
on the waist and in the other hand holds a lotus
^Ekanamsd—Should be placed between Rama and Kr^na, with her left
hand on her waist and m the right holding a lotus
Balarama—Carnes a plough-share and a pestle He is of white colour
He wears Knndalas in his ears and has ver> blue garments His
eyes arc intoxicated with drinks
Krsna—Should be made with the usual colour of the blue lotus, carrying
a cakra in his hand
Ruknuni—Should be dark ( syama) m colour She carnes a blue lotus
m her hands
Satyabhama—Should be made seated on Garuda and very beautiful
Other goddesses' should be made beautiful and charming
Pradyumna—The good-looking Pradyumna should be made carrying a
bow and arrow His colour is like Durva grass He wears a white
garment He is full of intoxication
Aniruddha—Should be made carrying a sword and a shield
Samba—Carnes a club m his hand He should be made particularly hand¬
some Samba and Aniruddha should have the colour of wlule lotus
They wear red garments On their sides should be placed two women
carrying swoids in their hands
Yayudhana—Should be made tall, with long arms, good ejes Carrying a
bow and an arrow and resembling in colour ihe interior of blue lotus
Wc arc told that it is impossible to describe in detail the manifestations of
Vi 5 nu, the god of gods These manifestations should be represented after
knowing their functions and consulting the scripture
hlisccllaneous gods and goddesses—
Adhyaja 71 also describes many miscellaneous gods and goddesses
KaSjapa should be made in the form ofPrajapati His twchc wises Aditi,
Danu, Ka^jlu, Daniju, SimhikS, Kadru, Krodh'i, Tura, Pradlij, VinaU,
^“mbhi, klnsu etc the first mothers should be all made beautiful and with two
hands The e>c-sights of Aditi. Diti. VinatS and Surabhi should be phcid All
' cf hfhatsmhita r 7S0 In drama named Kaumudimahot$a\a (DaVunathanii gramha.
'nilt Ko 4 Madras 1926 ( p 6S ) ) —
''indhp Vastnl » called EJeinaori and ihc « tegi’^ded as luielaty deny of Yadut.
166
vrSj/uDliARMOTTAItA
ihest mothers of gods should be made according to the rules of !mag:e*niakiflg ^
The other wives of Kaiyapa should have bewildered eyes
Dhtuva the lord of planets should have the form of Viji^u He has two
hands and a placid-look He carries the Cakra and reins in his hands ( ? or
rays of the Cakra)
Acaslya should be made m the form of future Manu So also Bhrgu and
other great sages
Jayanta, the son of Indra should be made handsome with two hands carry¬
ing bow and an arrow and with a gentle mien
Bala, the son of Yama should be represented as carrying shield and Sula
Pujkara has the colour of the lotus-leaf He carries a sword and a book in his
two hands
Jyotsna, the daughter of the moon, matchless in beauty and decorated with
all ornaracnls should be shown on his ( 7 Pu^kara ) left side
Nalakubara—has two tusks m his mouth and carries a vessel of jewels lO
his hand
Mambhadra should have the form of ( Dhanada ) Kubera He is depicted
with his wife and riding a man but there should be no ^ibikii
Purojava—^The son of Vjyu has the form of Vayu
Varcas—^The son of Soma should be made exceedingly beautiful He holds
a lotus as a plaything ( Lila Kamala ) in his hands which makes him radiant
Nandi—Strong armed Nandi has three eyes and four arms His colour
IS as red as Sindura He is co^ercd with tigcr*s skin He holds a tndent and a
BhmdipJila in his two hands The third hand is on his head and the fourth ons
IS m a ihieatening pose He should be lepresemed as watching people conutig
from a distance
Virabhidra should be similarly made
The dcsciiphon of BhaTtnx should be understood as gwen Adhy^iyi
Artha should ha\e the form of Kubera
Kamadeva should be made of matchless beauty with eight hands and ha\ing
Sankha and Padma as Ins ornaments { The meaning seems to he that sankha and
Padma arc m two of his hands) He holds a bow and arrows m lus hand^
and his e>cs indicate intoxication He has four wives of charming beauty
Rati Pritu ^akti and Mada^akli Four of his hands should be shown touching
the bosoms of lus wives Makara should be made as his banner He should
be shown with the five arrow heads
1 According to Dr Kramnsch—* All the mothers should be represented by one <
the work of making images *
PRATIMALAKSANA
167
Nidra should be represented with her left hand on the waist To her right
should be placed Sankar?ana and Vasudeva on the left and so also his son
Maikanah ^
The verses referring to Laksmi and Sarasvati have been incorporated at
the proper places
VarunI should be exceedingly beautiful, carrying a Kalasa
Camunda should be made with a drooping belly with her bosom covered
by a red cloth She has many hands Some of which carry tridents and others
are themselves weapons She has a huge chariot She subdues all creatures
Suska should have three faces and he particularly haggard looking She
has many hands and is covered all round with snakes
Bhima wears a garland of skulls and carries a Kha{vdnga
The messenger Siva should be made having the face of a bitch fox She
has four hands and stands in the Alidha pose In her three hands she carries a
pot full of blood, a sword and a Sula while the fourth hand is full of flesh
The Mothers should have the emblems of the respective gods All of them
carry flesh and vessels full of blood They are to be shown in dancing poses
whose forms are not described
Purva ( Hastern direction ) should be represented as a Bala f a girl), seated
on an elephant Her colour is red
Purvadaksma ( South-East) should be shown as a Brhat Kanya ( a grown
up girl) seated on a she-elephant Her colour is that of a white lotus Daksina
should be represented as a Praptayauvana (a girl who has attended youth), seated
m a chanot Her colour is yellowish The South-west is dark yellowish and
seated on a camel The west has a dark colour and seated on a horse Both
have passed the age of youth
Vadava ( N W ) should be represented as an dsannapalita (one whose
hair IS becoming white ) Her colour is blue North is Vfddha ( old woman )
Her colour is white and she is seated on a man Purvottara (North east) is
very old. has pale colour and is seated on a bull The lower region ( adhastat)
should be made like the earth while the Urdhva should be made like Gagana
Kala who is frightening has a lernfic face and moves everywhere He ha>
a noose m his hand and has serpents and scorpions as roma ( hair on the body)
Jvara has three feet, three eyes and three faces and three Iiands He looks
fierce and his eyes are bewildered Ashes arc his weapons
’ The reading MaikSnarn ca talha is not dear ( Slo 24 )
168
^ ISSUDHARMOTTAnA
Dh^n^an^a^l should hive a beiutiful forrrt and should be pleaSiug to look ai
In his two hands are jars fuJI of nectar
Samavcdi^ should be represented as having a horses face AItermtJ^ely
the Vedas should be represented in the forms of gods as follows—
Rgveda in the form cf Brahma Yajurveda Vasaso (Indra) S 5 ma\eda
Nisnu and Alharva Sambu
^iksa should be known as Prajapati and kalpa as BrahmS Vyjkarana as
Sarasvati ISirukta as Varuna Chhandociti as Agni and Jyotisa as the sun
Mimamsa as the glorious moon and Nyayamarca as the wind Dhannasasiras
as Dharma and Parana as Manu Itihjsa as lord of Praja Dhanurveda as Sata
kratu Ayurveda as Dhanvantari Phalaveda (Astrology) as Mali! Nrtta^istra
as Mahcs\ara Pincaratra as Sankarsana Pdsupata as Rudra Yoga as Ananta
Samkhya as Kapila Arlha&5stra as kubera and Kalasastra as K'lma
All other Sastras are to be represented in the forms of their authors because
the authors are the presiding deities therefore the Sastra has the bodv of the
author
The form of the different limbs of time should be made resembling the ap¬
pearance of their own god
Aiduka
Ad 84 describes the form of Aiduka Let us study it
First comes Bhadrapijha * It is furnished wuh four beautiful steps or flights
of steps conesponding to the four directions This Bhadrapitha is surmounted
by tuo other Bhadrapithas On the third a Linga form should be placed
This hnga^ should not be accompanied with the Rekha In us middle should be
raised a four sided immoveable ( dhruva ) staff Above it there should be thirteen
Bhumikas* i e floors On it {/ e the thirteenth bhumika ) there should be an
Amalasaraka and above the AmalaslraKa there should be a rounded staff
should be decorated with a medallion In its middle there should be two equal
halves of the tnoon ( or there should be the sun and the tnoOn if vve accept the
amendntion Samarkacindra) In the space below the bhuvanas (floors) but
above the linga should be placed in the four directions the Lokapalas carrying
the !§ulas in tlieur hands Their names are \ irudha Dhrtarasjra Virupak^a and
Kubera The Lokapalas have the dress of the sun They wear armours and
beautiful ornaments These four Lokapalas arc to be known as Sakra Yami
Varuna and Kvibcra
1 AccotdiciS to Dr S Kramnsch Eternal Sivmaveda should be represented bu» with tHe fare
of a dos
2 Sec Ad 75 for a desenpuon of the Bhadmp fha
3 According to Dr Kramr sch t should also be rurmshed with the tmes of a pha I s
4 Accord ng to Dr Kramr sh BhCm k3 mems steps
JRATIMALAKSANA
169
In this form the thirteen bhumikas and Amalasaraka represent fourteen
bhuvanas (worlds) The linga represents, of course, Mahesvara The rounded
alaff represents Pitamaha i e Brahman, while the four sided staff represents the
god Janardana i e Visnu The three Bhadrapithas are to be understood as the
forms of Gunas These Gunas are probably Sattva, Rajas and Tainas The
putting up of the three gunas in the form of three Bhadraplfhas indicate the
aggregate of the three worlds with their animate and inanimate objects
This form of Aiduka is called Prajahita The importance of erecting an
Aiduka is shown by saying that by worshipping Ai^uka, the whole world is
worshipped Men who remain engaged in the worship of Aiduka get happiness
in this world and at the end secure a place m the heaven
Now let us consider the significance of Aiduka
The preceding account of Aiduka raises several questions of importance
The first and the foremost question is what is Aiduka It is a word, which if
not Unknown, is comparatively very unfamiliar From its description, the only
thing that we clearly understand is that it is a sacred object of worship Let
us consider whether it is an image, a deity or some sacred structure
Lmga which represents Maheswara seems to be the basic deity from which
arises Visnu m the form of a four-sided staff and from Visnu arises Brahman
m the form of a rounded staff But the point to be noted is that none of these
pnncipal deities are represented in any image as such but arc symbolized through
^he hnga and the four-sided ard the rounded staffs The only anthropomorphic
figures are the four lokapalas who are akin to the images of the sun and his
attendants These are, as we have seen m the section on the sun, m the foreign
northern ( udicya ) garbs ( Ad 67 )
The worship of Aiduka is tantamount to the worship of the whole w orld
The same IS said about the worship of Lmga (Ad 74)andoftheVyoman (Ad 75)
A comparison of these three namely the Lmga, the Vyoman and the Aiduka brings
hgbt the fact that these three being not imitative or representative in their forms
®f any specific things, are symbolic of the entire unlimited infinite universe We
”iay, therefore, say that Aiduka is not the name of any specific deity but is like
L'nga and Vyoman, a structure symbolizing the cosmic dninity
The fact that Aiduka follows the Visvarupa (Ad 83 ) of Visnu, is also of
some significance In the earlier chapters the specific forms and manifestations
Visnu have been described But in the Visvarupa form, his image is to be so
made as to include all deities, all creatures, all arts etc In short, the image is
'o comprehend the whole universe and though it is not unimitative like AitJuka,
Lmga or Vyoman, it does not remain an image in the ordinary sense of the word
but becomes a sort of repository structure
^ 22
172 Vl5NtJDirARMdTTARA
K5lrasv5mm in his commentary on Amarako^a also dcnves it from
qrrfr i
Mabcivara, ho\ve\cr, iji lus commentary on Aiiiarako& says
t
From the above discussion vve gather that the word Eejuka was used for
a v»all or a structure which contains bones In later times, however, thewordseems
to have meant any wall or structure in which bones or some other matenal w'as
used to strengthen the wall (dar^hydrlhaip ) as explained by hfahe^vara
Now we comc^ to the root from which both Hemacandra and Kfira
swamin derive the word c^Qka I have not been able to find this root in Sanskrit
Dhatupjthas It is however, found in early Prakrit works like Bhagavattsutra
Rayapaseuiya etc There it is used m the sense of to put away, to abandon etc.'
So eduka is something in which bones are put away This gives us a clue to the
Original meaning of the word an^uka It has something to do with crematjOTi
It must have been a sort of shnne holding sacred relics m the form of bones But
It should be noted that the word eduka as such is not mentioned m the Praknl
diclionancs like Paiasaddamaha^navo or Abhidhaparajcndra
Wc, however, find the word eluga or cluya used in early Prakfta literature
There the mcaing is * threshold ^ or ‘ a wood under a door frame ' It is connecfetl
with clu (a kmd of tree) Compare udumbara and unimara(Guj umbaro)
Edgerton in his Buddhist Hybrid Saiisknt Dictionary ( VoL 1 ) mentions
the word cluka and regards it as equivalent lo AMg cluya threshold of a door
and compares it with Pali claka In the second meaning hq equates it with SI.
eduka and gives the meaning ‘Monument for containing the ashes of a deid
person * He regards it as probably a Buddhist word Me refers to ihe Mahi
vastu II 4?6 5 In the prose section, the word cluka occurs and there it ** refer*
to the bones * of ordinary laymen, not of religious persons
So must distinguish between etuksv which is related to elvyti and cluka
which IS related to e^uka From the quotations tatra ca clukadiare etc ( Buddhist
Hybrid Sk Dictionary p 157 J it appears that the Buddhist cluka might Iiave
been a sort of threshold where bones of laymen might have been interred The
Pall Jataka version uses the word khcttani in this sense It must be regarded
fis older tha.n Mah^vastu It is hkcTy that the Mahavastu might have substituted
the more current word clukani m the place of khettam If this is correct, it
lead us to the conclusion that the DeSya word eduka. which later on became
sanskntised and accepted in sansknt lexicons, originally must have meant a struc
ture containing bone rehes
3 Seo paiasaddamahaiou^''^^ ^
pratimalaksana
173
The Pali word e!uka which stands for the Prakrta eluya or eluka and Sanskrit
cduka IS probably a non-Indo-Aryan word We have seen that Heraacandra
denves eduka from the root ed which is a Prakrta root tiscd in some 'Jam Agamas
Dr *Hclroer Smith informs me ‘ if searching for roots, we may as well think
of canarese el to stand up, to rise ’ I think that the original word for eluka and
ediika IS connected with this root
Eluka IS ‘ something which rises up ’ It might refer to a form of Linga
or a Structure suggestive of it
From the theory that the root cd or el is a non-Indo-Aryan root belonging
to the Dravidian group of languages alone, we can draw no conclusion about
the age of this Linga like structure, but we have evidence m the Harappan culture
for the existence of w hat are called proto-siva Lingas We may thus combine the
linguistic datum of eluka with the material datum of a Linga form and guess that
eluka might have been a pre-buddhist structure of Linga shape with bones or
ashes as relics in it ®
The inquiry about the philological origin of Aiduka leads us to one indis¬
putable fact The eluka of Mahavastu and the eduka of Amarakosa, Abhidhana-
cintamanl etc agree m one point that it is a structure containing bones as relics
This would naturally lead us to think that eduka is some sort of memonal structure
connected with a kind of Smasana The description of Aiduka m the Visnu-
dharmottara makes it clear that it is not an image of any particular deity but a
structure signifying the vshole trinity as well as all the worlds with Linga or
Mahesa at the base So we have said that Aiduka is basically a Saiva structure
When we compare these linguistic and descriptive data pertaining to Aiduka,
we find that there is a discrepancy The description in the Visnudharmottara does
not mention any kind of relic while Amarakosa and other Sanskrit lexicons do not
specify the sectarian character of Aiduka This discrepancy can be explained m
1 See Paiasaddamahmnavo
2 1 had the pleasure of meeting Dr Helmer Smith m Stockholm at his residence and discussing
the problem of Aiduka I sent him an offprint of my article on Aujuka published in the
Journal of Oriental Institute Vol I, No 3, March 1952 In a letter dated 7-VIII-1953
acknowledging the receipt of my letter be made some important suggestions and drew my
attention to the Jjtaka passage and Edgerton’s Buddhist Hybrid Sic Dictionary referred
^0 above
^ If from the description of Aiduka m our text particularly its tiuadnlaicral BhadrapUha and
the general make up of the thing, we can infer Aiduka to be more or less a quadrilateral struc-
tare, it will be possible to connect it with the catufi srakti smailna of the daivi prsja mention¬
ed in the §atapatha Bmhmana 1 ha\e hazarded a guess that the Aiduka is a developed
form of calufi srak-ti imaiam, and stQpa is a developed form of parimandala Imasana of
the a$uri or praci praja—Eastern people mentioned in the same work Vide On further
consideration, I have modified some of the views contained in my article on Aiduka publish¬
ed in the Journal of the Oriental Institute. Baroda, Vol I Nfl. 3 I9S2.
114
VissUdwarMcJttara
the following way —Originally cluka or t^Qka implied a funerary structure
From limes immemorial, Rudra ina is associated with fma^ana in Indian tradi
tion So u 15 reasonable to assume that the relic containing cluka or c^flka had
some sort of Linga marked or made on it When the Buddhists later on sub
stituted the >\ord clukani for khettSm* they might ha\c raised similar structures
With or without a Linga on them As mentioned m Mahivastu the Buddhist
AitJukas might have earned the relics of laymen, probably to distinguish them
from their stupas which are supposed to contain relics of Buddha or prominent
Bhtkklius
The original Saiva aujukas seem to have followed a development parallel
to those of the Caityas and even stupas, just as Caityas and stupas lost thcirfuncrary
connections and were built near towns and aties and became sacred objects of
worship, so also the l^aiva aidokas might have moved from ^ma^ilna to towms
and cities and become sacred objects of worship They might have become so
popular as almost to displace gods and temples
The Mahabharata, disapproves these Ai^ukas—^aiva or Buddhist-contain
mg bones, ashes and other funerary relics, probably because in pure Brahmanical
tradition these things cause pollution and are therefore to be avoided WTien
worship of such things displacing the worship of gods and their holy temples be¬
comes popular, vve can understand the disparagement of the hfahabharata
Here, however, another discrepancy arises On one side the bfahabiarala
disparages Aidukas while on the other the Vijnudharraottara purana commends
it as an object of worship This discrepancy can be explained on the assumption
that the practice of putting bone relics which causes pollution might have been given
up on account of the disparagement it received from the holy Brahmapas as
illustrated in the Mahabharata This would also explain why an Alaska form
without any bone relics is described in the Visnudharmottara fn fact it might
have taken a long time for the practice of putting funerary rehcs to cease inasowed
)y hw.VwjAvwlsJJjJTJiU'f
So we can explain the discrepancy between the linguistic data and the des
cfiptive data regarding Aiduka by assuming the following four stages —
(1) Eluka signifying structures containing bones or other funerarj relics
suggestive of the shape of a Linga mostly in a cemetery
(2) The substitution of eiuka for khetta by the Buddhists to indicate a
structure containing the funerary relics of lajmen probably to distinguish
It from the stupa containing the relics ofihc Buddha and hispronnncnt
followers
1 Sof Buddhsw Hybrid Saaskht Dieiioulty P IS7
pratimalaksana
175
(3) Prevalance of the practice of raising such Ait^ukas saiva and Buddhist-
containing pollution for the Vedic Brahmin, displacing gods and temples
(4) Strong disparagement of such practices resulting m the building of
§aiva Ai^ukas without any funerary relics
One more problem arising from the description of Aiduka still remains
to be considered The names of the four Lokapalas belong to the Buddhist
mythology How do they come in this Saiva object of worship It has been
said that Aidiikas were originally Buddhist and therefore the association of Buddhist
Lokapalas has survived even in the ^aiva Ai^uka As shown above, Aiduka
IS like stupa a ^pre-buddhist structure and originally, if anything a Saivite structure
Therefore, the association of the buddhist Lokapalas and their identification
With the ^aiva Lokapalas are due to the mfluence of the Tantnka cult Tantrism
was creating a sort of syncretism of Saivism and Buddhism We find a clear
illustration oF this in the religious cults of Sumatra, Java, Bali etc, particularly
in the cult of Lokanatha
This Tantnka interpretation of Aiduka would also explain its mystic charac¬
ter of symbolizing the trinity as well as the whole universe consisting of 14 worlds
Inherence of the Tantnka power in An^uka would also explain its capacity to be
Prajahita i e to achieve the welfare of the people It would also explain why
mspite of the Mahabharata disparagement it has been strongly commended as
^ sublime object of cosmic worship
t History of Indian and Indonesian art (P 30) by A K Coomaraswam)
VII
OUR TEXT AND THE REMAINS OF ANCIENT INDIAN
PAINTING AND SCULPTURE
Here I propose to discuss how much of the information derived from our
text regarding painting and sculpture can be corroborated by the actual monu¬
mental remains
Paintins
Mural painting—
We have seen that Adhyaya 40, which is called Rangavyatikam opens with
pTEscTiplions •as to how the surface of the wafts h3%'e to be prepared for patnhQg
The first place' given to wall painting shows the great importance attached to ilr
probably on account of its prcvalancc in ancient times As Mr Percy BrowTi.*
iifter describing the JogimJra cave, says ^ it is more than likely that other rock*
cut halls and chambers were originally also adorned with frescoes' Mr HavdP
says * a Citra5al5 or gallery of rural paintings was an indispensable annexe to
a Hindu palace until quite modern times
The oldest concrete example of datable painting is to be found on the walls
of Jogtmara ca\c of the Ramgarh hill in Sirguja in Madhya Pradesha The
walhpaintings m the Buddhist cavc^temples at Sigiria m Ceylon, Ajantii and Bagh
are well known In the rock-cut temple at SittannavasaP m the ancient Pallava
country not far from Pudukkotai fresco^paintings were discovered in I?-®
These paintings^ are regarded as Jam by Prof Dubreuil and Dr Coonuraswamy
There are remains of Brahmanicat frescoes at Ellora also which may be of the
l2lh cent or earlier ’
* The devastating influence of the Indian cUraalc has been responsible fo**
the deslnicUon of the mural paintings * But from what has been said above
1 For literary rcfcreitct see Indian Painting by Percy Bfowti Pages 19 (o 24,
and Indian Sculpture and Painiins (revised edition 192S ) by Havcll Pages 154 (o 163
2 Indian Painting—Percy Brown Page 17
3 Indian Sculpture and Painting—HavclJ Page 156
4 See aho History of Indian awd !ndon«an art ( pp 8Tto90
5 Indian Sculpture and Pamling—HavclJ Page 173 7
6 History of Indian ond Indonesian Art—Dr A K Coomarasnumy Page S9
The figure of Ardhanariiwara however, from this cave cannot be called Jam Mr N ^
Ji!chia IS of the opinion SJnt Jt is impassrWe to say whether the Sitfannava&al pictures arc
Jam in their subject matter unless more is known of these pictorial remains (studirt
Indum PainUng—Mehta N C ) (Pages 11 and 12)
7 Indian rainUDg—Percy Brow n Page 42
SCULPTURE
OLR TEXT AND THE REMAISS OF
177
«t becomes dear that from very ancient times mural painting was practised in
Brshmanical, Buddhist and Jam rock-cut and structural temples, royal palaces and
mansions of nobles and wealthy merchant pnnces etc
The Jogimara’ cave-paintings are presumed to have been executed about
Ibe first century before the chnslian era The Ajanta caves have been classified
into the following periods of time —
^(A) Caves 9 and 10 Second first century BC
CB) Pillars, m cave 10 „ AD 350 fperhapslater)
(C) Caves IS and 17 „ AD 500
(D) Caves 1 and 2 „ AD 626 628
The paintings of Siginya* and Bagh, are supposed to belong to the 5th cent.
A D those of Sittannavasal to the 7th cent A D and those of Ellora to the 12th
cent or earher
fbe technical process—
The technique of the paintings at Ajanta and Bagh has been a matter of
discussion Sir John Marshall says that it is Tempera painting not Fresco Buono
but as Mr E B Havell* says there cannot be any doubt that the true fresco
process has been practised in India for many centuries Its technique also ha&
been inferred from the existing remains by scholars such as Havell,^ Dr Coomara-
swamy and Mr Percy Brown and others Some scientists may as well study
snd chemically test the prescriptions regarding the preparation of wall surface,
Points, mixture etc given in Ad 40, Slokas I to 9 Any way history has more
Or less confirmed the claim sift ^ i that the painting thus
made Will not disappear even after a hundred years
Some details-^
Eventhough our text is Brahraanical while the monumental remains are-
mainly Buddhist, as far as the technique of pamting and its secular matter are
concerned, there could be no rehgious distinction Rehgion only came in
the depiction of mythological matter not in its artistic mode of expression, in
1 Indian Pamting~Percy Brown Page 17
2 Indian Painting—^Pcrcy Brown—Page 30
See also Archaeology m India
3 History of Indian and Indonesian Art-Dr A K Coomaraswamy, Pages 77. 87. 163
Indian Sculpture and Paintmg-Havell Page J7J and also Appendw Page 278
5 Compare also the last verse of this Adhyaya—
V23
178
VISN UDJ! ARMCTTA R A
fact, wc can, by comparing the information of our text with the actual pamtmgs
at Ajanta and Bagh, find many items of our text illustrated in them For example
—the five types of men descTsbed in AdhySya 35 m: Hamsa, Bhadra, Milavya,
Rucaka^ and 5a^aka as well as the five types of women described m AdhySya 37
can be illustrated from the great variety of men and women depicted in the above
mentioned frescoes as well as in other paintings For example—the prescrip¬
tion—a ■woman standing near a man should be in height upto the shoulder of
man caabe illustrated in miny of these paintings, so also many other details of
the different parts of the body of men and women Characteristics of cakra
vartms like webbed fingers of hands and feet, a tuft of hair between the two
eye brows can also be illustrated in paintings and sculptures of Gupta period
Similarly a study of the paintings would show that the instructions of our text
regarding the postures mudras or hand poses, rasadrMJs—sentiments and moods
expressed by eyes—and many such artistic observations are caiefully followed
Sculpture
As wc have seen our text employs the word citra to cover both painting
and sculpture Therefore many things said about painting in CurasQtra apply
also to Pratima III fdct Ihe pratirtiS laksana taking for granted the technique
described m Citrasutra mainly devotes itself to the description of a great number
of deities male and female, their vehicles and symbols and insignia
We find in the Gupta the worship of Vjjnu, Siva, Sakti, Kartikcya
Surya and many olhci deities as highly prevalent Vi^nu is mcniioned under
various names in the inscriptions So also the various names of Siva are men
tioned Linga worship* also was current m this age
Sakti IS referred to as Bhagavati Bhavanr, Devi Gaun, Katyayani and
Parvali “ ViSvavarman, a feudatory of Kumara Gupla I, constructed a templff
for the worship of the Divine Mothers (Matjas) a very tcrnble abode filled
with fullofDaktms or ghosts who utter loud and tremendous shouts in joy and
Stir up the very oceans With the mighty Winds rising from the perfonriance of the
tSntncr ntes ’
The other dciues that we find mentioned in Gupta inscriptions are Kub'^ra
who js also called Dhaiiada or Dhane^vara, vaxuna, Indra or Sakra, Yama or
Antakaor Kflanta, Hanumat Rama Kamadeva Lokapala Maghavat Bfhasputi,
Vidyldfiara, while Nara, Kinnara, Gandharva, Mvhiiisun and Nandi are- men
tioned as derm gods
If wc compare the above itiformation derived from the Gupta jnscnptions
about various deities with what wc find m the Pratamalak^ana uc shall be
I Gupla Empire—Radbakamal Moclerji—THges 134 lo 13S
2. Tlie catlicst IiAga « that bearing an jrt5crjprtnn daied A D 436 ond r<>und at Kara
mad3nd3 in ryzabaO
SCULPTURE
OUR TEXT AND TilE REMAINS OF
179
able to understand the development of Saiva and Vaisnava pantheon as we find
our text
Now I will try to show how some of the images described in our text re¬
semble m a more or less degree to some of the existing images of the correspond¬
ing deities
Padmanabha—on the wall of the Gupta temple at Dcogarh, a composite
image of Ananta-Sayi Narayana is shown This image agrees with
the description given in our text (Adhyaya 81)
^eja-Saym Visnu (from Shahabad) has disc and conch m his two
hands,
Laksrai ( Adhyaya 82 )—The images of LaksmI are commonly seen in the
pictures as well as in the Museums
Saraswati—In the provincial Museum, Lucknow, there is an image of Saras-
watl with four hands and seated on the vehicle of a peacock It,
however, differs in some respects from the description given in our
text In our text, She holds in her four hands rosary, trident, book
and a water-vessel, while m this image Saraswati holds Vina m two
hands and in one a book but the remaining hand is damaged So in
the fourth hand there might be water-vessel or trident or rosary No
vehicle of Sarasvati is mentioned m our text
Surya—According to Sir R G Bhandarkar the images of the Sun that are
found in the extant remains of the temples of Surya from Multan down
to Cutch * have bools reaching upto the knees and a girdle round the
waist with one end hanging downwards ^
As Dr V S Agarvala says m his work, Gupta Art Surya images
of ancient Indian type with a chariot of four horses are known m the early
art of Bodhagaya, Bh3ja and Anantagupha A new type of Surya
clad in Northern dress (UdicyaveSa) and wearing long buskined boots
became the usual feature in Kiisana images influenced by the Magian
Sun worship from Persia The Persian influence is even more strongly
marked in the Gupta images not only of the Sun-god, but also of his
two attendants Danda and Pingala, the latter a pot-bellicd figure holding
a pen and an inkpot
“ At Khair Khaneh near Kabul Mon Hackm discovered a remark¬
able image of Surya dressed like a Sassanian king and wearing a round
apron like tunic fringed With pearls The Sassaiuan kings had a special
hbng for pearls set m the dress Bana also refers to the fashion of pearl-
spangled tunics worn by kings in the tram of Harsha ( Taramukta-
phalopaciyamana varabana) Some of the statues bearing close
1 PP 154-5. Vaiseavism and Saivism, E IR-
IBO
VlSMt Dll ARMOTTAH A
Sassanian influence lead luio inferihat Ihe intercourse between India
and Persia m the Gupta-Sassanian epoch was much more intimate than
IS often itnaemed A Ufe-sixe bust { D 114athura Museum y vearing
a Kulah cap (Skt Kho]a)^ith acxcsccni and globule symbol, spiral
curls of hair, a tight beard band, a bejevtelled cuirass and a belled coat,
represents a figurcjn Sassanian style During the reigns of Shaipur II
and his successors Ardashir II and Shakpur III (between 309 and
386 AD) upto the reign of Khusru 11 590*628 A D ), the cultural
nier-relaljon between India and Persia was at its peak The scene
of the so-called Persian embassy being received by an Indian ling m
full court ceremonial painted in Ca\e I at Ajanta* and another scene
Identified as that ofihe Ferstan king IChusni Parwir and his beautiful
queen Shian, illustrate the degree of Sassaman influence This is e\ idcnt
all through m painting and sculpture |ind also in ‘terracottas The
Indian artists in rendering the faces and costumes of their foreign neigh¬
bours scored a sinking amount of Success’^ ^
Ktmiara—In the Indian Museum at Calcutta there is an image of KumSTa
or Skanda It is in damaged condition Out of his four hands
nre damaged His one hand is resting on a peacock and another holds
a bell So it is difficult to find out i^hal hi$ two other hands contain
But we can guess from fhc description given m our text ( Adhyaya 71)
that there must be a Hag and a ^pcar m the two damaged bands
'Ekanamsa—The image of goddess bctnecnHalaruma and K^na
IS m the Lucknow “Museum (G 58) The description giv'cn in our
text (Ad 85) agrees with this image
Kubera—The image of Kubera of Mathura Museum more or less agrees
with the descnptjon given in our text ( Adhyaya 53)
Agni^In Lucknow Museum there is an ainage of He is scaled ort his
vehicle of goat holding kamandalu and rosary in his tv\o hands and
having a long beard and matted locks of hair
Two images of Agni at the Mathura Museum and Indian Museum
agree with the descriptions given m Agni Purina and Mats>a Purapa,
but slightly differ from the description given \w our text (AdUjiya 56)
Our text refers to parrots yoked to his chariot while the other
make a goat, his vehicle
Ganga and Vafniona-^Tbc images of GangS in the Central Museum Lucknow
and in one temple of ChStpoda Kamaii, ^ind Yamuna in Dcnarcs ate
quilc simtlar to Gangj and YamirnS described m Adhy^i'a 52
1 A HaTiJbook tcv the Mfltihura Muceuen, Pag^ Si Fig 41
2 Gupta Art—ljy > s Atanala, p«isct 5 «nj 10
OUR TCM AND THE REMAINS OE SCULPTURE 181
There is a doorway of the Gupta temple at Devagarh In its
right upper corner there is the figure of Gang3 and in the left that of
Yamuna as described m Ad 86, Slokas 68*69
Aujuka—While discussing Aiijuka I remarked that it is a form which is both
sculpturesque as well as architectural The description of Alduka as given
m our text can parlially lie illustrated in some of the Buddhist stupas
Jn fact, Ai^uka has been regarded as primarily Buddhaiduka but our
text provides evidence for a Saiva-aitJuka as we have seen A monu¬
mental remain discovered at Ahichhatra in Bareli district is regarded
as a form of Saiva-ai^uka
We have seen the great importance that has l?een attached to the
symbols jn the Pratimalaksana of our text These are technically called
Hetus Dr A K Coomaraswamy in his monumental work. History
oflndian and Indonesian art (pp 41 to 47) has discussed and ^explam-
ed symbols of images of different deities
If we bear in mind the interpretations and explanations of the
various Hetus given in the Pratimalaksana portion of our teitt, we can
understand tlie ethical and spiritual ideas expressed by those signs and
symbols as well as their importance as expressmg these -values This
confirms the view of Sir John'Marshall* based upon the study of the
remains of the Gupta Art namely that it was an attempt ‘to embody
spiritual ideas in terms as well as his other rewafk namely the visicm
of the Indian was bounded by the immortal, rather than the mortal,
by the infinite rather than the finite ’
Combridre hislory of Irdm t ol 1 PP W4 and 64? compare also ih< remarks of
ttr C’coiroiaswomy on ihc Cupln nrt (p 7J )—History of Indian and Indonesian Art
VIII
THE HEITJS OR THE PHILOSOPHICAL SIGNIFICANCES OF
SIGNS AND SYMBOLS
«
Vajra In Ad 85 inquires of Markan^oa as to God always holds out
^ith weapons ? Of whom is he afraid,—He, who is Che soul of all and who removes
the fear e\cn of gods? MiirkaijtJeya explains that these ate not realty weapons
but represent the great elcmcirts which the Lord Han bears eg Tlie conch in
the hand of god represents space The disc symbolizes wind, thegadS lejas and
the lotus water Wlicn these mam elements are abandoned by Han,, they become
quickly scattered So Han keeps them together in Himself Visnu js identified
with the human soul When he leaves the bodi, all elements residing m the body
become scattered The world is supported by the elements when held together
bjy god Vi^mi Their power of holding together is caused by Hun This philo¬
sophical explanation constitutes the Hetus of the images, their signs and symbols
In the preceding sections dealing with Cjtra and Pralima we had occasions
to note the \arious objects associated with different deities, as also their Hetus
or Significances As this is an important aspect of Indian Sculpture, it wilE be
helpful if 1 treat the matter m a separate chapter by bringing together the material
arising out of Hetus scattered at various places
These Various emblems can be classified under several heads such as
(1) Colours of the deities
(2) Limbs of the dettces
(3) Apparel of the deities
(4) Weapons of the deities
(5) Various other objects associated with the deities
(6) Musica! instruments
(7) Animals and Birds as vahanas
1. Colours of the dcihes
White—Mahesvara, Varuna, and Dharma
The whiteness of Mahesvara represents Prakftj because Prakpi
which means the absence of creation is white / e colourless
Varuna is said to be like the colour of waters The eoEour of
waters is- said to be both white ( Sita ) and dark ( because the
Vatdin‘y^ like colour of waters is ()e unnatural) because the
form of the sky is reScctcd m waters Its natural form is seen *
cataract which resembles the rays of the moon
TlIE HCTUS OR THE PHILOSOPHICAL SYMBOLS 183
On account of predominance of Salfva, Dharma is white in colour
Red—Agni and Adilya.
Agnt's colour is red because he represents Tejas which is red
Aditya is red because he is the source of all lustre
The Parrot colour—The earth goddess is of parrot colour because she bears
all kinds of herbs
Blue lotus colour—Yama in colour resembles the blue lotus on account
of the Predominance of Tanias
Virupaksa—represents Kala He is the embodiment of darkness therefore
he is dark in colour and he wears black garments
Ik Limbs of the deities;
Padmasana pose of Brahma represents meditation of his formless nature
One face—SarasvatL
Four Faces—Brahma, Visnu, Dharma
Five faces—MahSdeva
The face of Saraswati represents Savitri or Gayatrl—the foremost
of all
The four faces of Brahman represent the four Vedas.
The four faces of Vi§nu represent strength (Bala), knowledge
( Jnana ), Sovereignty (Aisvarya ) and energy (Sakti)
Slrengih is personified in Vasudeva, Jnana in Samkarsana, Aisvarya
m Pradyumna and ^aktt in Aniruddha
The four faces of Dharma represent Yajna (sacrifice), Satya (truth),
Tapas ( austerity ) and Dana (gift giving )
The five faces of Mahadeva are—
(1) Sadyojata representing Mahi (earth),
(2) Vamadeva „ Jala (water).
(3) Aghora „ Tejas (light),
(4) Tatpurusa ,, Vayu (wind),
(5) Isana ,, Akasa(sky)
Eyes_The Three Eyes of each face of Mahadeva preresent the sun, theiuooa
and the fire
The two eyes of Saraswati represent the sun and the moon
Beard—Agni, Kubera
The beard of Agni represents the sacred Darbha grass, the four
tusks of Agm represent Vagdanda (punishing with speech), Dhigdanda
(punishing with denslon), Dhanadanda (fine), and Vadhadanda.
(punishing by death ).
Two tusks of Kubera represent punishment dnd favour
1S4
\ISVUDJI4nM0tTAEA
Four Anns— BrahmS, Sarasivail, and Dbarma
The four arms oC BrahmS represent the four directions.
The four arms of Saia5%vaB represent the four Vedas
The four arms of Dharmarepresent space, time, eJeanness and purity.
Four feet—Dbarma—His four feet represent ^ruti, Smfti, Sadaedra (good
conduct) and good to oneself
111, Apparel of the deities:
Kaustubha—In connection with Vifpu. Kauslubha suggests' pure knowledge.
Vanama13—In coimcction with Vjjpa it indicates that the world is bound
together by tho long, variegated, and dark, VaaamalS
Garments—^Visnu, Mahi, Viiupaksa, Vayu, and Dharma.
The Garment of Vispu shows Avidya, whick keeps the world going
The white garment of Mahl symbolizes Dhanni.
VirupSksa wears a black garment because he is the embodiment
of darkness
Theganncnt of Vayu indicates the sky.
The garment of Dharma is knowledge.
rV. The Weapons' nsually raenHoned In coitneclicin with the images of the deities;
Dapda—Bhairava^ Yama, and VvrupSksa
, DaijiJa ta connection, with these three deiUcS represents unfailiag
death and the act of killing;
Cakra—Vasudeva. Viypu.
In the hand of Vasudeva, CaJera represents the Sun.
In the hand of Vispu, Cakra represents Air.
Gad3—^Vasudeva, Kubera.
In the hand of Vasudeva Gada repcesenls the Moon.
In the hand of Kubera Gada represents the art of government
Li^gata and Musala—In the hands of Samfcarj-ana represent Tunc and Death
Fiery bow and arrows—In the hands of Pradyumoa represent SSmkhya and
Yoga.
Carroa-Leather shield— Amruddha, Nandi.
In the hands of Animddha Carma represents illusion which is
necessary for the creation of the world.
In. connection with Nandi, a represents Dharma
Nandaka—The Sword represents Vairagya with which the bondage of th:
world IS cut
THE llETUS OR THE MniOSOTHTCAL SYMBOLS 185
Tndent (Tn^ulaMn the hands of Nandi represents Vyakarana Three
^ufas represent Sattva, Rajas and Tamas
5akti—Spear of Kubera represents power
Various other objects associated pith deities:
Kamandalu—Brahma, Saraswatl, LaksmI
Brahma holds in his hand aKamandalu which carnes water, because
the universe comes out of waters
Kamandalu in the hand of Sarasuati, represents the nectar of all
sastras and in the hand of Laksmi it suggests the essence ofivaters
Rosary ( Akjamala }—Brahma, Saraswati, and Dharma—
In connection with these deities rosary represents Time
Antelope ( Kpnajma ) skin—Brahma wears the antelope skm It suggests
the two types of ceremonies sukla and asukla
Tiger’s skin ( Vyaghra Carma)—Siva wears the tiger’s skin This skm
represents the wide and variegated Tr§na {desire)
Bolus ( Padma )—Visnu, Laksmi, Parvati, Mahi, Sakra, Soma and Kubera
Lotus arising out of the navel of Visnu represents Mahi (the earth )
and Its stalk-the Mem mountain—to show its firmness In his hand
lotus represents Water
Lotus in the hand of Laksmi represents wealth
In the hand of Parvati Lotus indicates detachment, and in the hand
of Mahi, Artha The lotus in the hands of Sakra represents prosperity,
and m the hands of the Moon indicates joy and graciousness and in
connection with Lord Kubera it represents his treasure-begs
In general the lotus or Padma symbolizes the entire world
Sankha—^Vi|nu, Laksmi, Varuna and Kubera
Visnu holds in his hand Sankha Sankha symbolizes sky In con¬
nection with Laksmi it represents good-luck, in connection with Varuna
It represents riches and with Kubera his treasure bag
Matulunga—In the hand of Bhairava citron indicates the seed of world
These seeds of citron represent the atoms which constitute the world
Bilva—In the hand of Laksmi, it indicates pure knowledge
The Moon—{ Candrakala)—The digit of moon on the ftce of Si\a represents
his divine power
Noose ( Pasa)—Varuna and Yama
Noose m the hand of Varuna represents the bondage of the world
(samsSra) In the hand of Yama it indicates the tcmble path
v 24
186
VIS VUD HA RRJOTTA R A
Jewelled Box (Halna Patra )—Vanina, and Rddhi
The jewelled box in the hand of Varuna represents the earth con*
taming all sorts of preaous stones and m the hands of Rddhi, the
wife of Kubera good qualities
While Umbrella (Silam chatram)—Of Varuna represents fame
Pen ( Lekhana)—In the hand of Cilragupta the pen is meant for noting
Dharma and Adharma
Book ( Pustaka )—Saraswatl and Dharma
In the hand of SaraswatJ the book represents all sastras and in the
hand of Dharma it represents scriptures
The reins of Camel (Ujlra Rasmayah )—in the hand of Viriipak^a, smgrfy
bondage
Ankusa—In the hand of Sakra represents the command which subdues
all beings
Thundcr-bolt-C Vajra)—In the hard of Sakra Vajra represeiits anger
which subdues the wicked
Tala—Represents the entire world
VI. Various kinds of Mosical mstiwnenfs are represented Jn early and Jate icono-
graphy. But here only tno names occur They arc Sankha and Vuia.
^ankha is mentioned in connection with Trivikrama
The Vina in the hands of Sarasuatl signifies achievement or proficifney
(Siddhi )
Vn. Ammals and Birds as the Vahanas of the dtitics.
Bull { Vfsa )—The Vehicle of Mahesvara represents the dnine four-footed
Dharma
Buffalo ( Mahisa )—^Thc Vehicle of Yama represents the unconsciousness of
men at the time of death
Camel (Ujtra}—Vahana of Virupaksa represents Mahamoha
Elephant (Gaja)—^The elephants m connection with the earth goddess
symboluc the four directions The elephant Airavana of 5skra
represents artha (wealth) and its four tusks represent the four means
of governance, Manira, Prabhu and Utsaha
The pair of elephants in connection with Lak$ml personifies
Midhis lie Sahkba and Padma
Horses( Alvas >~Seven horses attached to the chariot of Aditya are seven
Vedic metres, Giyatn, Ujpika, Anusiubho, Bfhati, Pankti,
SYMBOLS
the HETUS or the PFIILOSOPHICAL
187
and Jagati The ten horses of the chariot of the moon signify ten
directions
Lion (Simha)—On the b anner of Aditya, Lion represents Dharma
Makara (crocodile )—In connection with Varuna, Makara is the symbol
of happiness
In connection with Bhagirathi Makara represents virility (Virya)
and in connection with Visnudhvaja it symbohzes eros (kama )
Mfga—Mfga symbohzes action (^) m connection with Visnudhvaja
Varaha—^Varaha m human form should be represented hke Kapila stand¬
ing in meditation
Vasuki—^Vasuki m connection with Siva represents anger which subdues
the three worlds
Tortoise ( Kurma)—Conveyance of Yamuna represents Time ( Kala)
Swans ( Hamsa )—Brahman and Varuna
Seven swans m the chariot of Brahman represent seven Lokas
Seven swans in the chariot of Varuna are the seven seas
Garuda—Of Visnu is to be known as mind pervading the bodies of all
creatures
Tarksya—^In Visnudhvaja, represents Mind
Parrot { §uka)—Parrots yoked to the chariot of Agni represent the four Vedas
IX
SPIRITUAL SIGMFICANCE OI AVAIJAHANA-VIB0DHAN\-
INDUCTION OF DEITIES INTO IMAGES
Adhylyas 103 to 108 describe how the different deities and objects con
jiccied uith them are inducted to Iheir images As ue had occasion to Inow
several of them in the preceding chapters, we do not repeat the lists here It
would, however, be appropriate to understand the purpose of divine mduction
ihana prayojana) We are told m Ad 103, verse I, that bhavantja\ahita
mantriirjasmdUannihiiah surah Cods become properly placed in the images
if they are mducted to them by prayers In these inductions of various deiues
to iheiT images Vi^nu is also included This creates a difficulty in the mind of
Vajra He can understand the lower liniiled deities coming and residing in their
images Hut how can this happen to Vijnu?! Visnu is m all places He rs
greater than the great and smaller than the small He is all pervading The
world consists of Him There is nothing in the world m which Jaitardana is not
'the world consisting of sat and asat ( real and unreal) is infused with him What
IS the point in inducting this god who is everywhere*^ He is the essence of all
sense power and mental power
Markandeya tries to answer the inquiry of Vajra in the following way —
All gods have their images in accordance with their bodily forms (pindita
mOrtayah ) When Vi?nu becomes manifest (te assumes an Avatara ) he aho
will have a boddy frame All forms consisting of the five elements are pindita
It has a beginning end and middle
God has two aspects the higher and the lower (para and aparamurti)
The higher aspect is spiritual (pauruji) and free from the five material elements
( para ya paurusi murtih pancabhuta vivarjita ^0 ) With that aspect he becomes
the omnipresent lord There is nothing m this world winch is devoid of puru?^
( supreme spirit) This aspect has no beginning middle or end and is incompre
hensible It is the power of the senses and of the minds of ail and he js evciy-
vvhere Even when he becomes manifest and limited m iriatenal forms, his
1 urinal tr \ d
II c 11
JTCtlTPir I
5 II Ml ar
SPIRITUAL SICllinCAl,CE OF
..INTO IMAGES
18$
omnipotence continues but thts depends upon his will and so vhen he does not
Wish it, then his omnipotence would not operate The omnipotence of the
infinite spiritual is natural (Nisargasiddha) and so it is always and everywhere
The only reason of inducting this great god to an image who is always
omnipresent lies m the mental satisfaction of the devotee His image is made
not for his satisfaction because he is always satisfied, but for the satisfaction of
his devotee He does not want his image but he concedes his image to his de-
\otees only to satisfy their devotion ( bhakti) It is for favouring ( anugraha )
the devotees that he has allowed hts images to be made He who has no body
comes to assume body in order that his devotee can meditate upon him ( bhakta-
laksana bandhartham ) because it is very difficult to concentrate on what is forms-
less, while it n easy to do so on what has forms So Markandeya has instructed
as to how his form is to be made and how he is to be inducted After meditating
on god through a particular form (sakara), a man becomes capable of me¬
ditating on him Without the aid of any form (anakSra)
Whatever god accepts is for favouring the devotee There ate two paths
for salvation ( Moksah) path of knowledge (Jnanamarga) and path of action
(knyaniarga) Any action done with a desire leads to bondage f bandha
the same done without a desire leads to salvation ( Mnksa)
After this argument Markandeya asserts
3tT7tf|frr: fl'TguTTr i
^^ 30 ^ imn 31.
‘ The gods when invoked through Mantras come to reside in the images
Without fail The invocation of the great god Visnu is to be done for one’s own
satisfaction ’
RITES AND RITUALS
Life m nncicnt India was within a framework of rites and ntua!s \Vc
find ample evidence of these in our text We saw in Ad 40 that a painter before
he starts his work performs cerlain ceremonies Similarly when the architect
goes to forest to find wood tAd S9) or to a mountam to find stone (Ad 90)
for Ins temple also performs certam ntes When he is examining the dinffifent
pieces of land for selection of sites he ha? to perform certain rites, so also m
Brahma ^iLny^isa and Dhvajavidhi (Ad 94) The removal of as (^alyod-
dlijra Ad 95) consists of many magical ntes A whole adhyJya 96 is devoted
to a discussion of what lime is auspicious for installation of images Ad 97 is
called the Dikjddhyaya wherein \vc are inslnictcd about the number of Rtvijas
and their functions for the ceremony of the installation The ceremonials of
raising a Torana (Ad 9S ) are elaborately given with much interesting information
about signs and symbols to be made on the Dhvajas of difierent gods The
rituals of arghya, padya and paocagavja in connection with installation cere¬
mony arc described m ad 99 There is a peculiar adhyaya ( 100) on arcalavca,
sanctifying an image The adhivasana ceremony, the Mantras to be recited and
the blowing of conches and beating of drums and the uttrance of the v^ord jaya
arc described m adhyaya 101 Ad 109 describes Vai$na\ahomavidhi* ad III
Visnubfhalsnapana and ad 115 Sattvatejya These are specifically Vaisnava
rites Ad 117 is devoted to yatravidhi U describes how sacred festivals are
to be peefonued The last adhyaya 118 named pradurblilvapujatia instructs
us as to what particular god is to be propitiated for fulfilment of a particular
desire
As most of these rites and rituals belong to the domain of magic, I am not
discussing them in detail We will have here, however, a brief account of the
ccrcmomes of the performance of Devayatr* ( ad 117 ) and PradurbhSvapujaua
{did tl^) they arc interesting from other pomts of view
De>ayatcaTidhi:
The Devayalrri—the festival of a deity is to be held on the date (Tilhi)
On the TitKi particularly assigned to him When, however no such assignment
IS to be made a full moon day is to be selected for the festival All dates arc
sacred for the gre^t god Vasudeva Ke has no particular date
To start with, the tentpic should be brightened with time wash Then it
should be well painted Then on a good day Vmayaka or Ga^apati should be
propitiated On the second day the planets and the stars, on the ihnd the Nlg3si
KITES AND rituals
I9I
on the Tourth Pramatlm should be propitiated On the fifth day the brahmanas
should be honoured and alms given to the poor and the helpless, and on the
sixth day the ceremonial bath After the great bath all the citizens (sarve eva
nagara janah) wearing white garments, having the pavitras in their hands should
go to a lake or a river or a stream whichever is near the city with beautiful danc¬
ing and sound of musical instruments Then jugs should be filled with water
from One of these water places and covered with pure cloth and should be placed
on the back of an elephant and brought to the city With the water of these
jugs (he glorious god should be bathed Then he should be worshipped with the
oeremomes described m connection with installation preceded by the ceremonies
of concerning bhoga Then the god should be propitiated with dance, instru-
tnentai music (vadya) and singing
When the day for the festival comes a small image of the deity which would
he called Pratmia should be made and be placed and made firm in a beautiful
chariot of the Kutagara shape having small bells and covered with various pieces
of different kinds of cloth and decorated with jewels garlands and flags The
chariot with the Piatima should be taken through the whole city by the trained
horses or tall men A well dressed citizen with only a bow in his hand should
walk in the front of this Kutagara chariot The other citizens should throw
about the garland of flowers and should be singing the praises of the deities In
front of them should be the bards and the reciters of Mangala The king with
bands playing should follow it with his four-fold array or the governor of the
city or any one else appointed by him He should be followed by the astrologer
seated on an elephant He should look for the auspicious signs After tlus a
number of unauspicious signs and their effects are described
After this procession through the city and knowing the effect of signs
Pratima should be installed Then the great festival should commence Be-
ginnirig frorn the second day one should hold performances of actors, male and
female dancers, wrestlers, magicians etc and give them money This would go
on daily but for as many days as one can afford At the time of the spectacle
one should honour the spectators with flower garlands, betel leaf, cosmetics etc
The invisible spectators such as ghosts etc in the different directions of the stage
should be propitiated with food, fruits, flowers, flesh, sweetmeats, water etc
Then the spactators should be invited to witness the next yatn as they have done
on that day If some unauspicious event happens then after removing the evil
effect by the ceremonies one should perform the yatra properly
The merit of one who performs juch yatras regularly escry year gets all
his desires fulfilled in this world and goes to the abode of Visnu The performance
yatra is beneficial to the king and the citizens It is supposed to remove all
evils
I
X
niTCS AND RITUALS
Life in ancient India was withm a framework of ntes and rituals We
find ample evidence of these tn our text We saw m Ad 40 that a painter before
he starts Ins work performs certain ceremonies Similarly when the architect
goes to forest to find wood (Ad 89) or to a mountain to find stone (Ad 90)
for his temple also performs certain ntes When he is examining the different
pieces of land for selection of sites he has to perform certain rites, so also m
Brahma iiLnySsa and Dhvajavjdhi (Ad 94) The removal of Balyas (5aIyod-
dlijra Ad 95 ) consists of many magical ntes A whole adhyaya 95 is devoted
to a discussion of what time is auspicious for installation of images Ad 97 is
called the Dikjadhyaya wherein we are instructed about the number of Rtvijas
and their functions for the ceremony of the installation The ceremonials of
raising a Torana (Ad 9S ) are elaborately given with much interesting information
about signs and symbols to be made on the Dhvajas of different gods The
rituals of arghya, padya and pancagavya in connection with installation cere¬
mony are described in ad 99 There 15 a peculiar adhyaya ( 100) on arcasaiiCa,
sanctifying an image The adhiv^sana ceremony, the Mantras to be recited and
the blowing of conches and beating of drums and the uttrance of the word jaya
are described in adhyaya lOI Ad 109 describes Vaisnavahomavidhi, ad HI
Vjjmibjhalsriapana and ad 115 Saltvatejya These are specifically Vaisnava
ntes Ad 117 is devoted to yatravjdhi U describes how sacred festivals are
to be performed The last adhyaya 118 named pradurbhavapujana instructs
us as to what particular god is to be propitiated for fulfilmeat of a particular
desire
As most of these ntes and rituals belong to the domain of magic, I am not
discussing them m detail We will have here, however, a brief account of the
ceremonies of the performance of Devayatra ( ad 117 ) and PradurbhavapDjana
( ati Tils'; as firey rm: imere!.*ifng Ircmi trfner poiitts o? view
Deiayatraiidhi:
Tlie Devayatra—the festival of a deity is to be held on the date (TithO
On the Tithi patticulaily assigned to him When, however no such assignm-ent
IS to be made a full moon day is to be selected for the festival All dates aw
sacred for the great god Vasudeva He has no particular date
To start with, the temple should be brightened wnh Itme wash Then it
should be well painted Then on a good day VinSyaka or Oanapati should be
propitiated On the seeood day the planets and the stars, on the third the
RITES AND RITUALS
191
on the fourth Pramatha should be propitiated On the fifth day the brahmanas
should be honoured and alms given to the poor and the helpless, and on (he
smh day the ceremonial bath After the great bath all the citizens (sarve eva
Mgara janJh) wearing white garments, having the pavifras in their hands should
£0 to a lake or a river or a stream whichever is near the city with beautiful danc¬
ing and sound of musical instruments Then jugs should be filled with water
from one of these water places and covered with pure cloth and should be placed
on the back of an elephant and brought to the city With the water of these
jugs the glorious god should be bathed Then he should be worshipped with the
ceremonies described in connection with installation preceded by the ceremonies
of concerning bhoga Then the god should be propitiated with dance, mstru-
tnental music (vadya) and smgmg
When the day for the festival comes, a small image of the deity which would
he called Pratimii should be made and be placed and made firm m a beautiful
chariot of the Kutagara shape having small bells and covered witli various pieces
of different lands of cloth and decorated with jewels garlands and flags The
chariot with the Pratima should be taken through the whole city by the trained
horses or tall men A well dressed citizen with only a bow in his hand should
walk m the front of this Kutagara chariot The other ciUzens should throw
about the garland of flowers and should be singing the praises of the deities Jn
front of them should be (he bards and the reciters of Mangala The king wKh
bands playing should follow it with hts four-fold army or the governor of the
oty or any one else appointed by bun He should be followed by the astrologer
seated on an elephant He should look for the auspicious signs After tins a
number of unauspicious signs and their effects are described
After this procession through the City and knowing the effect of signs
Pratrma should be installed Then the great festival should commence Be-
ginning from the second day one should hold performances of actors, male and
female dancers, wrestlers, magicians etc and give them money This would go
on daily but for as many days as one can afford At the time of the spectacle
one should honour the spectators with flower garlands, betel leaf, cosmetics etc
The invisible spectators such as ghosts etc m the different directions of the stage
should be propitiated with food, fruits, flowers, flesh, sweetmeats, water etc
Then the spectators should he invited to witness the next y^tra as they have done
On that day ]f some unauspicious event happens then after removing the evil
effect by the ceremonies one should perform the yatra properly
The merit of one who performs such yatras regularly every year gets all
desires fulfilled in this world and goes to the abode of Visnu The performance
katra u beneficial to the king and the citizens It is supposed to remove all
evils
192
vjsnudharmottara
Desire and Deit>:
The last adhyaya ll8 as interesting in as much as it enumerates the specific
desires of men and the gods who would fulfil them One who wants all his dc'
sires to he fulfilled should worship catunnurti the four fold image of god One
desiring Dharraa (Dharmakama ) should worship Aniruddha, Artha, (Artha
kama), Samkar^ana, Xtma (Kamakama X Pradyumna^ and Moksa (Mokja-
kama ), Vasudeva the lord of the worlds
One desinng a son should worship Padmanabha but one desinng Vjd)5
(learning) the god ASvaJiras One who wants bhogas (enjoyments of hfe) should
worship the god lying on the bhogaj / e the hood of the serpant but one who wants
position or places should worship the god sitting on the hood of the serpant
One wanting dhanya ( com ) should worship Matsya or fish and owe desir*
mg Srogya or health should worship Kfirma (god in the form of tortoise)
One desiring knowledge (jhEnakSma ) should worship Hamsa or the god Nrsvmha
One desmng learning (vidyaKama) should worship ValmTki or Vjasa One
wanting to be proficient m the Samkhya philosophy should worship Kapda A
person wanting prospenty should adorn VarSha and one desiring success m n
court of law, on a battlefield and m gambling should adorn NfvarahJi
One desinng Dharma should worship Dharma and Brahman A person
desinng the destruction of his enemies should worship Mahideva One dcs'f
sTvg to fulfil one’s vow should worship Ramabhirgava or R5ma Daiarathltmaja
One desmng Sn should worship the companion of Sri (/ c Visnu ) and one
desinng strength should worship Balabhadra Balabhadn should be vor
shipped also for the success m agriculture In short, the god being omnipoicnl
should be worshipped in a form suitable to a desire
But better than this lustful worship (sakBma) ts the worship of the grea'
god without any lust
The significance oF this chapter is like that of the significances of thelldu
and the Aviihanaprayojana It suggests on one side the deification of desires
in \arjous deiues nnd on the other rising abow all desires in the pure worship
of the highest (varenyam)
XI
TEMPLE-BUILDING
After images of gods, it is natural to think of temjiles of gods; after
Adhyayas 86 to 88 treat of this subject They call them-
SEhes and respectively Just as
Visnudharmottara gives us many new aspects for the study of religious sculp¬
tures m Its sl^wgiil, so It does about temple architecture in its It
describes 101 varieties of temples and mfonns us as to what deities are to be
JBstalled or not to be installed in particular temples
Material and Sites:
Adhyayas 89 to 92 describe the different kinds of material, that rs used in
building temples and also some processes of building like plastering Ad 93
fells us what sites are appropriate and what sites are to be avoided for the building
of temples Adhyayas 94 to 100 describe the various ceremonies connected with
temple-buildmg and installation of images The ceremonies m connection with
wood-fetching and similar other things are described in the preceeding adhyayas
Adhyayas 101 to 106 are connected with avalma i e inviting the deities to live m
the images The adhyaya 107 describes the invocation of Vasudeva Ad 108
wplams in a philosopbcal way the significance of avshana Adhyayas 109
fo 118 describe various forms of worship, sacrifice and ceremonies connected with
the building of temples and installation of images
For systematic treatment we wiU take up first adhyayas 89 to 93 which treat
of the material for building and selection of sites and then take up the adhySyas
on PrSsadalaksana
Three kinds of material namely wood, stone and bnck are described m
adhyayas 89 to 91 respectively
Wood;
The sthapati or the architect on an auspicious day enters a forest for sclec-
hon of trees (Ad 89) whose wood is to be used for budding purposes The trees
b be avoided are those with hollows, entwined with creepers, eaten by worms,
touched by fire felled by wind and broken by elephants The trees which have
n«ts of birds in them, which are near ascetics, which are watered with jars (i e arti¬
ficially Watered) and which are the abodes of Sattvas should also be avoided The
‘^ees which are crooked or dwarfish, which have many veins, which arc doed up
Ibe top and which have become old in their infancy, should not be used One
should be careful to avoid the trees growing in a cemetary, a temple, an ant-hill,
trees of a guden, trees indicating boundaries and trees growing in a road
194
VISKUDIIARMOTTARA
The partjcular trees to be avoided are PalSia (Butea Trondosa), Kovidflra, 5almali
(silk-colton tree), Pippla (the holy fi£-trce), Va{a (the fig-tree), Amra (the mango-
tree), Pu^paka, VibhTtaka (Tcrmmalia Bthnea ), Vclasa (the cane) and ^AsSra
(oozing) trees The trees which are recommended arc Nandana, Syandana
(Ougcinia dclbergioidcs), Sala (Shorca robusta), (Dalbergia Sjssoo),
Kadira (Acacia Pennata), Dha\a (Anegcissus lalifoha)* Kim^aka (Butea
frondosa), Padmaka (Prunus Pudum)^ Handra {Canna Indjca), Cinaka
(Pameutn niihaccum), Arjvina (TcrtninaUa tomentoza), Kfldamba(Anthoceph3lus
Cadamba), MacIhQka ( fiassia latifolia ), Ahjana, Dcvavfksa, Jatya (Jasminum
grandiflonim) and Raktacandana (Plerocarpus Santatum) The trees, whose
core IS red, are supposed to be auspicious for kings, while for Brahmins, ^ellou
for Vai^yas, and black for ^Odras
The rest of the adhyaya is devoted to the magical ceremonies for felhng a
tret and with suggeslions as to what is magically good The wood is to be earned
in a cart or by men or balls, of course, at an auspicious time The learned sthapati
or architect will employ this wood as required (Yathayoga) according to purpose
(yathoddc<a) and scientifically (lak^anarvvitam )
Stone;
With the same ceremonies the architect goes to a mountain in search for
Stone ( Ad 90) Here also the appropriate colours for different ■vamas are des¬
cribed The stone that is recommended for use should ha-vc one uniform colour^
should be even and gloosy (snigdha) and under the ground It breaks only
tfitr severe blow It is massj\c and yet pliant It pleases the mind and the eye
It is smooth The stone which is washed by mer water or which is plunged in
water or which is under the shelter of a tree or which is near some holy place i5
also recommended It should have proper length and circumference
The stone which has been licked by fire or heated by the rays of the sun or
which affected by saline water and which i5 already used for some other work
should be avoided, so also the stone which is \ery much damaged, rough, spoiled
by cavities and full of curious dots and curved lines, pierced ( viddha) and affected
by Vimala The Viniala is of three types iron, bronze and gold The mapcal
injury which anses out of these Vimalas is described, so also the stone which has
some living creatures m 11 ( sagarbhSrji) is also to be abandoned How the difTcrenl
creatures arc to be delected by means of the colour is also desenbed If it
the colour of mSnjisjha ( Red as madder) thcA it as frog, ifyeTIow, godha (alli¬
gator ), jf black, serpant, if tawny, the rat, if red, kfkallasa ( lizard ), if the colour
of Gu<!a ( molasses), pS^Sna, if the colour of pigeon then grhagodhjka ( a
housc-lizard), if the colour of sword, water, and of ashes» vJluk3 (sand) All
these are to be avoided
J We have tikcn ihe teadiag snmrnf?incpn
TCMPLE-BUILDING
195
Instructions are given as to how the creatures lying m the stones arc to be
- cohered, when there is no outward signs This knowledge which is called
£arbha\ijn"ina applies also to the trees
The following eight colours m the stone arc regarded as praiseworthy
Sveta (white), Padmavarna( colour like lotus), Kusuma, U?ana^ (like black pepper)
Pandura (tawny), Mudga (colour like that of kidneybean) Kapota (colour
I'ke pigeon) and Bhmga (like a large black bee) The stone which has black
colour and which is white like the diamond is specially auspicious Then the
vanous ceremonies are described It is to be carried to the town as the wood
earned After stone comes bricks
Brick*
Adhyaya 91 describes the process of brick manufacturing It starts with
the clay of ditTcrciU colours white, red, yellow and black which arc good for the
different Varnas, Brahmana, Kjatriya, Vaiiya and Sudra as before
The clay has to be taken from a good unnuxed ground Then it should
dried This dried clay should be mingled with water and the Saivala plant
Out of this loam bncks can be prepared as desired by means of machine one hand
m length, half a hand in breadth and one fourth hand m height Then they should
te left in the heat of the sun to dry These dried bncks should then be baked
in fire of dried wood, dried cow*dung and grass The baking should be imid
and not excessive The bncks which are not properly baked or which stick together
should not be kept The bricks which are excessively baked break when a Rupaka*
^ We amend ihe reading ujara into u^ana
2 What IS the meaning of the word Rupaka in verses 7, 10 11 and 13 ( of Ad 91) and verse 8
{ of Ad 93 ) It cannot be in the sense of a dramatic composition nor can Jt be m the sense
of* a figure of speech So the word Rupaka imy here be taken to be equivalent to Rupa and
sliould be taken in the sense of akara But it is not clear what akara is indicated m these
verses Verse 11 ( Ad 91) says that each Rupaka is formed by a collection of bncks or an
arrangement of bncks So it appears here that the word Rupaka is used m the sense of
some structure form or figure made of bncks As verse 12 tells us that there can be similar
Rnpaka m stone also
The word howe\er is not found m cither the Dictionary of Hindu Architecture or
Encyclopaedia of Hindu Architecture by Dr E ^ Acharya Dr P K Acharya, ho\\e\cr,
translates the word Rupottara as entablature The word Rupottara, however is found m
Tantrasamuccayi Manusyalayacnndnka, Mayamata etc In Tantrasamuccaya, it i3
one of the three Uttaras other two being Khanijoltara and Patrotiara (See Studies m
Sanskrit Texts on Temple Architecture by N V Mallaya P 5S verse 45) Dr N V Mallaya
explains the characteristics of Uttara as folloNvs — It is a honionial structural division,
fectangi^hr m shape It sits on the walls if walls are present, or on columns and in the latter
t*istancc It extends from column to column It is treated as a bcanng member upholding
load of toof and the symonyms found menuoned in the M^nosara, point towards this
^^Scnlial function of beam (* uttara *) ^ P 253 )
196
VTsmjDHARiiorrARA
IS made oiit Of it The unbaked bricks are mthout strength The bricks which
are stuck together destroy'* the maker When the baked bricks become cool,
they should be joined together in appropnate forms and put in appropriate place
In this way each ROpaka should be made with a number of bncks properly joined
together and appropnatcly placed This placing of ROpaka is done in stone also,
so also v^ood should be joined together ( ? and made into a rupaka )
Wood should have joints of iron, unbaked bncks of mud, baked bricks
and stone of Vajralepa Thus the constructions of baked bricks should be made
It should be accompamed with lime The lime stone should be used for temples
of gods but not for domestic houses
Vajralepa*
What IS Vajtalepa whose bond ts recommended for burnt bncks and stonc^
This IS explained in adhyaya 92 which is called It is given as follows —
Bilvaka, Kapjltha, Amra as well as the flower of Salmali, the seed of
Sallaki, the skin of Dhanvana and Vaca should be taken in e^ual parts and Itined
up in water eight times in quantity The whole mixture should be boiled till it
reduces to one eighth Then the following things should be put into it, the Vin-
yasa of Sallakr, the Guggula of Bakula, Bhallataka, Bilva, Kunduni, Saga and
Atasi When it (this mixture) is heated properly, it is called Vajralepa
The second kind of Vajralepa is made out of the following —
The Lak$^, Kunduru, Grhadhdma (smoke in the kitchen lit house), the
pulp of KapUtha and Bilva Nagaphala, BalS, Madhuka, Ksnjapa, Madana and
Maiiji$tha and Smalaka and Sarja
The third variety consists of the following the horns of bulls and buflaloes
the hide of goats, buffaloes and cows ( or the milk ofboflalo and cow ) and the
juice of Kimba* and Kapittha
Tlic fourth variety is made with following things —Eight parts of N5ga
(tin ), two parts of Kamsya and one part of nlj (rust of iron)
Jn the fifth variety the hme is baked first and then moistened and mi'tcd
with the hide of cows and *rough hair
The stone houses should be made wuh each one of these Vajralcpas so also
the houses made of baked bncks Houses made m this way become firm and. wtlh
So if the RflpaVe of our text w the same a* ROpa ja RDpottara ti would be one of
VSiiiiras This meaamg houever docs not sun the context in alt the \erses
miftht be a word of some older Yasiuvidy-i iraddion
1 Thu IS the literal meaning of Vanr nSiaditi But ifi this contcM howew, it maVes bo
sense
2 'We have adopted here the reading of MS D rauip inmbalcapitthinaiti
3 We have adopted the reading of V C* D khactromayuO,
TEMPLE-BUILDING
197
the Vajralepa lasts for centuries All houses should he plastered with Sudha-
vajra (taking the reading of MSS. A B D Sudhavajrena ) Then it should be white
washed with lime for beauty Tlie application of Vajralepa is recommended for
the interiors of the temples and mansions
Sites:
Now we come to the selection of sites for the temples (Ad 93) The hue
of the ground may be white, yellow, red or black to suit the four varnas The
ground should be cohered with Kusa, Sara, Kasa and Durva In taste it should
he Madhuri, Kasiya, Amli and Lavana
The following kinds of sites should be avoided Grounds which are covered
with thorny trees, full of pebbles and clods (lo§ta) which have chasms, uneven,
difficult for approach, covered with ant-hills full of rat-holes, covered with various
kinds of ants, so also the ground which is broken by cart-ruts and which has been
formerly flooded with waters The ground which had on U the slaughter house
or prison is also not good A place where the residences have been burnt by
lightening or fire is also to be abandoned The ground which suffers from evil
eye of those who live there, whose back is like that of a tortoise or which is triangular
m shape and which is void of turnings and the shape of sQrpa, which is low to¬
wards the south or at the back and which had taken m water formerly and which
had many veins ( Susira ) should be given up The ground which after being
dug cannot be refilled with the dug^ out earth or in whose pit a lamp becomes
faint, the garland of flowers becomes withered and water poured for filling it,
does not stay should not be selected The ground which gives out bad smell
should also be carefully avoided
A ground which is opposite of this is preferred e g the ground which gives
®ut good smell and good sound, which is bent to the north, which is glossy and
firm, whose earth dug out from the pit not only is capable of filling it, but also
remains in excess and in whose pit the lamp does not faint and the flower docs
not whither and water stays for a longtime is good for building a temple
If while looking for a good site, one sees an auspicious thing or hears some¬
thing auspicious, the ground of that site is good and should be selected without
inquiry When however, one sees or hears something unauspicious, the
ground is bad and should be properly examined The work of examining the site
should be done on a very auspicious day
The next adhyaya (94) is devoted to the description of Salyas and how to
^lear the ground from them Much of these is magical though some of it might
he of scientific character After the ground is made auspicious by the removal
of Salyas and cerefnonics and after them it is properly prepared and made even.
• The reading svamrdi of MS C 5$ adopted here
VlSjJt;DnARMOTTA.RA
I9S
one must think of placing the doors, the height of the doors, the height of the pillars,
the placing of the bamboo, the height of the fimalasiraka and the sign of the deity,
the Weapon and the vehicle of the god should be used as his symbol One of these
should be made on the amalasaraka eg Garuda m the temple of Visnu, Simha
in the temple of Purga, Tn^ula in the temple of Kara, Padma m the temple of
Laksral, Hamsa of Brahman, Makara of Kamadeva, Tala of Sarpkarsana, a hon
standing in half moon of Aditya, a Mrga ( deer ) standing m a round circle of the
moon, Vaira of Sakra, Danda of Vaivasvata, Paia of Varuoa, Gada of Dhanada,
iSakti ofSkanda, Paraiu of Ganapati, flame of fire, crumpled ( rrjj-) cloth of wind,
Camel of Niirti etc when the white washing with lime is finished, the work of
painting should be undertaken The Kati of the temple should have good pictures
so also the white washed back The painting (Citra) should be done scienti¬
fically
We have instructions also as to where the images should be installed and what
surfoundtngs temples should have The instalbtion should take place m a fort
or in a good city ft should he done always at the head of the market road ift
a 1 illage or hamlet of cowherd where there is no market The installahon should
take place m a garden outside the village It should not be done m the middle
of the village The following places are specially Tecommended for installation
because there the god» arc in viccimty These are banks of the nvers, forests,
parks banks of lakes, tops and charming Upatyakas and the cates of mountains
Gods never approach the places which are devoid of water, reservoirs A temple
should be so built as to have a reservoir of water cither on jts left or on its front
and on no other side If a temple is made on an island, water on all sides it
approved
Varieties of temples—in this chapter, we will take up first Siraanya PrisJda
lakjana of adhjjja SS It gives US genera! informations about temple building
General characteristics of temple —
Id. Vi, ^v'kTm.tn'yupvls,iATlaksajvi.'v^—
A temple should be made so as to have 64 Padas’ i c its ground area
should consist of 64 equal parts The idea seems to be that the ground area of
a temple should be first d.ivided into 64 equal parts or squares The doors
should be in the middle of temple standing in a v^ay to face tlic dirccliort evenly
( sama) i c not ficing eomennse The height of the door is double its widdi
t The la this s*t«c cannot be taken in ihs sense of any meisurcnverti b-cause 1*131
viould 1 tnit the ground area of all kinds of temples This should be impossible Therofow
] Jia'e taken the word tf* to mean a part or a dmsion or s square
qy~lhe foot as a Tneasure of 8th t equal to 12 la 15 fingers or J PT J otaprskrama)
TEMPLE-BUILDING
199
The column of a temple should be made of wood of pure tree The door should
he made of the wood of trees known as Devakuhi' The wood should not be
perforated, should not exude moisture and should not be hollow One should
avoid a door bent like the middle of Vajra * It should be auspicious and ac¬
companied with figures on it
The measurement of the image with the pedestal should be less by one-
eighth of the door The image consists of two parts while the pedestil should
consist of one part
The measurement of the image with the pedestal should be less by one-
cighth of the door The image consists of two parts while the pedestal should
consist of one part The Kap should extend over the door It should be less
tiy one-eighth of the measurement of the door i e the door should raise above
the Kati by one-eighth The Vasudha i e Jagati (platform) consists of onc-
third of the measurement of the temple, so also Kati and Mafijari Thus a temple
consists of three equal parts
The Garbhadvara or the door of the inner shnne should be less by one-
fourth of the measurement of the mam door The wall of Garbha should be
less by one-cighth of the wall of temple i e its thickness should be less by one-
cighth of the thickness of the main wall of temple Its height should bconc-fourth
of the height of the temple The vasudhasaficara i c the jagati passage should
he in a part of Kafl The SopSna or the flight of steps should be m the middle
und less by onc-eighth (of the measurement of the passage) The number of the
steps should be even The steps should neither be \cry narrow nor verj wade
The width of the steps should be void of width as they rise higher from the base
(f c from the ground ) The meaning seems to be that the steps should decrease
m Width as one goes up The flight of the steps should be decorated on both sides
'' iih lions
The temple' should not be skull-shaped ( mtintja ) or should not be pomlcd
a SQla II should not also be bent (.Inaia ) but U should be c\cn and beauti¬
ful and possessing auspicious figures Its pinnacle or turret should be vhitc-
'^ashed with lime ( sudhfi) and hav'C beautiful ornamentation on ils Katl ( waist-
At each side of the doors of a Carbhagrha there should be pratihlras
tn the case of the mam doors
* Any one of the Tl^x xrm of paradise ri; Mandira Pan>ATa^ SanUna. Kalpa
^ and llancandana
* ''e amend ihc reading ipRfTTr*
^ tt IS not clcai what ts desenbed m \xrm 12 sad I3a
teccral
1 think II applict to a Itniplc n
200
Tht pedestal of Ihc imagt shoaild be made in the middle of the Garbhagfha
It should be the Bhadrapifha, beautiful, polished and \oid of indentations
( ghfllavivarjitam)
The hundred temples*
The Vjjnudharnnoltara gives Jn all 101 varieties of temples. 100 in Ad 86
and one sawatobhadra in Ad 87, The first vanety namely Himavat seems to
be the maul type of which the remaining 99 are the variations of the mam tjpe
So the description of the iirst variety along with the general dcscnption of the
temple m adhyiya 88 would give us a connected picture of a typical temple of
ancient India
( I ) Himavat—^The description given in first twelve verses of this type
apply to other temples in a general way The modifications in each case are
given in the descnpiion of the particular temple
The temples are defined on basis of the Hasta^ measure
The measurement in terms of Hasla is in relation to the SamsthSna te
the measurement of the whole
The portion of the temple is the same as that of the Jagati The meaning
seems to be that the height of the temple should be equal to the area of the Jagatf
(platform) The Jagatl should consist of three stages (bhQmikas) of equal
height The length of catch stage should be half of its height The shape of
each bhfimilS is that of a Bhadrapitha The Kati* should be half of the temple
in measurement similarly ihc Kuja The width of the flight of the steps should
be one-cighlh of the measurement of the bottom of the Katf For each bhOmikS
(stage) steps should be of equal number The portion above the Kaji (fe
Kafa) should be divided jn three* parts or compartments Over each compart
jnent there should be made a beautiful arualasSraka The Kuja should be
quadnlateral and should be gradually elevated The three compartments should
be decorated with a tow of lions The height of the door should be one-eighth
above the deity installed The height of the door should be twice us width
On It (the door) should be made an devoted CandralaI5 which beautifies the
door or a catidraiala consisting of a gatehouse ( Dvaraiobha ) should be made
( one of the meanings of DvaraSobhJ being a gatehouse something like Gopuram )
Over the first compartment of the KOta beautified by an amalasaraU, the temple
should be made with four bent (bhagna ) or unbent (na bhagna ) doors Sioii-
1 qc ^ II \ h
«T \ rrrfTiwtJv^T
2 •The hip of a building according to Dr P K Achaiya
3 P K Acharya lakes these three parts to- be SikhS* Amalaka and ^iVhara Ttus is
possible iT we can change the reiding e;i\cn m the text into Sikh^malakaiekharjfi
TEi!PLE‘BUILDI^G
201
larly it should be made in the two other compartments of the Ku{a The temple
would be surrounded by four separate' Candra§alas (naturally) on the four doors
This beautiful temple is known as Hinmat
A temple having a Ku[a with two compartments is called (2) Maljmal
A Ku[a of (3) Srnga\at^ temple is without any compartments The Sfngaxat
temple having only one door is called the (4)Ag3ra temple and tlie AgSra
having two mekhalas ( girdles ) is called ( 5) Bha\ai;a and the AgSra having one
Mekhala is called (6) Gfha A Spngavat temple with two mekhaUs is called
H) Nifadha The distinction between the Bhavana and the Agara seems to be
that the Bhavana has only one door while the Nijadha has as man> doors as
Sfngavat i c as many as Himavat Nisadha with one mekhal!l becomes ( 8 )
'Vi/a Malyavat temple with two mekhalas is called (9) ^\eia and if it has one
mekhala, it becomes (10) Vtndhya
All the varieties of temples mentioned above except Ag3ra may face any
‘direction The Agara varieties, however, face only the East and the West In
Ihe case of one mekhala or two mekhala temples the divisions are into stt-'I,
and ^ as before
(n ) *The Valabhi temple having the shape of Valabhi faces any one of
Ihe four directions as desired Its length is thnee its width It has one mckhall
and on its ndge on both the sides there would be a Candrasall ( atiic room )
There should be three Amalasirakas This type of temple consists of three pans
Mekhala, (2) KajT and (3) Valabhi They should be in equal measure¬
ment
The extent of Mckhali should be one eighth of the racasurenjent of the
temple The width of the Sopana should be less than iwo-cighths ic one-fourth
of the Ka|i The high gate should be in one direction only
In a temple which has four doors, each one facing each direcuon is called
^ 12 ) V(ddhtda temple It is lo be understood that the other details are accord-
mg to the Valabhi temple
(13) Trigupa temple IS distinguished m two ways cither ns doors are
tfgunathnee m height or il has three doors Presumably the other details
those of Vpldhida temple The three doors of the Garbltagrlns contain
1 'W adofit the reading sicchinna of ' birre
* l-'t A icmrte \Mtb one KOp is Smeaval but as the two rrcsioi.s I}T*« bi'e »Iio one KCt*
Cmirjuiihtns: mark I*« in •ChciUi* The ktuc »t as tJ'vi aSa>e
* TKs \alabht temple la short his a tnpk dwsvon of iw vertKal soc-nxi. The Ks'.i rrami
M jNctiuon. insicad ot Jiriit hcmmxr, il is the Vtelhj’i v*-5.h rm—s Jowrrt-mi-
ihifj i,4rteirtbciinxti.rv Another subsumion is, ii a-ncin, ef a r w‘~ i IK.
^ IS Kpli-Td t-i j \ atahh! .—.
202
ViyNODJIARMOTTARA
three gods ivho arc seated, attached to the wall of the Garbhagfha whose doors
face one direction
If the Yalabhl type is void of Valabhl on both the sides, it is called f I4 )
Sikhara though it has sides Triguna temple without the lateral Valahhis would
be a (15) Nfgtha hi rneamng the house of men (16) The Vjttida and
(17)KSmada temples arc also without the lateral Valabhts
When the temple on the ValabhT* has its doors facing the directions made
wide, It IS called (18) Turaga, or the other meaning may be that in the Turaga
temple the door is to be made on the side of its width
When (he door of the Turaga type is made circular, it is called( 19) Kunjara
In the (20) Yathesja vanety of Valabhl the number of Garbhagrhas, the
extent of the temple, and the measure of doors arc as one wishes Vathejta
having one door and one Gaibhagtha is called ( 21 ) Visala
When the Valabhl is extended lengthwise on the ndge of Malyasat, it is
called (22) Bhadra and when it is extended obliquely it becomes (23) Dvara*
iala, or Dvarapala according to the reading of Ms C When Sseta is made like
Bbadra it is called (24) Subhadra and when (25) Saumya is made like
Dvgra^alS, it becomes (26) Gandhamadana The Saumya and Subhadra
mricties arc most praiseworthy of all
A temple having an eight-sided summit (Kuta) wiih three compartments
and auspicious amala$5rahas, and eight-sided Jagatl, with one MckhalS and having
eight Garbhagfhas with eight doors facing the eight directions, is called (27)
Kamala temple
Whci^in Turaga variety, the Jagati is raised without the shape of a Bhadra
pitha and when its front portion is void of Valabhl, it is called (28 ) Arunoda^a
It must face the east or the west and no other direction, when the same temple
js made verv long it is called (29) Guha or Guru if we adopt the reading of Ms B
When two small temples are attached to the Aruna vanety facing the north and
the south have similar Jagatls with top rooms ( Valabhl Chadika) facing each
other and doors equipped with Jalakas, it is called (30) Garuda
A temple having the shape of a Linga and three tnckhalas is called (31)
^arva, and the same with two Mekhalas is called (32) Trailokya and with one
Mekhala it becomes ( 33 ) Linga temple The Lmga temple having a KCta and
Valabhl is called (34) Sarvakita Presumably the modification is m the ^arva
temple, because the following two vaneiies are of Trailokya and Linga. Traf-
lokys temple with Valabhl becomes (35) Brahmanda Linga with Valahhl
becomes (36) Sara temple The above mentioned six temples—Sar\a and others
1 J am not, h(»w?ver sure of the-above mierpretation In ilofcas 36 ici 38 there » some con-
■temple-building 203
the east and the west When the Valabhi type is devoid of Mekhala, door
and the front wall and is equipped with pillars and is quadrilateral, it is called
V 7) Caturasra It must be made attractive
When It has a Mekhala, it is called {38) Samekhala When the number
“ ^^^hala IS two, it is called ( 39) Dvimekhala and when three, it is called ( 40 )
skhalddhya In these temples all the deities mentioned above and those not
mentioned should be made Sabhasthas j e courtiers
The meamng seems to be that m this peculiar type of temples all sorts of
gods are placed just as we find m many cave temples
The Caturasra and the following types of temples, when they have doors
called Dhijnya, Salya, Budha and Indu Probably Caturasra is called (41)
o’jnya, Samekhala (42) Salya, Dvimekhala (43) Budha and Mekhaladhya
1 ) Indu When these four are devoid of walls and have ventilators on four
directions, they arc called (45) Candra, (46) Mcgha, (47) Ambuda and (48)
Akasa, respectively.
Caturasra temple having one storey and in shape like a Guha or cave is
called (49) Qrha ^
When the same type has many storeys, it is called (50) BahubhOmika
When a temple has six sides, four doors and twelve storeys it is called ( 51)
Meiu When it has eleven storeys, it is called (52) Suktimat, C 53) ten, Mandara,
(54) nine, Panyatra, (55) eight, Alaka, (56) se\cn, Vim5na, (57) six, Nan-
(58) five, Pancata, (59) four Catuskaka, (60) three TnbhumI, (61)
two Dvibhumika and (62) one EkabhOmi
A temple round in shape and having one mekhala round it, is called (63)
Samudga * When the same Vytla or circular temple has a four-sided Mekhala
the form of Bhadrapilha with eight compartments having flmalasSrakas.
u IS (64) Nandi The Guharjija* (65) temple is like the Guha type having a
fircat length
"The Yfita havmft one summit and two Mckhalos is called ( 66 \ Vrsa The
tem ple having the shape of Haipsa would be called (67) Hamsa, of ( 68)
* Accordine to the readmes of Mss A and B. the meaning \^ould be a Caturain one
Morcy and made like a house ( Gfha ) is caljcd Crha The reading of Mi C i%htch
‘5 adopted in the text as it can mean a ca\c temple. Many of ihc fcaiurcs aitnbmcd to
Caturasra arc like those of case temples.
Samudganamaip-^d’ Dictionary of Hindu Architecture b> P K AcJrya.
^1^ adopt ihc reading of Mss A B grhdkaro FrWripb the meaning ^xiuld be i Jewy
lemplc h3Mng the shape of Riijsgrha Would this an> relation to or ccnnxiit>n uiih
ca>c temples near Rajsgrha
There is another interesting reading in the footnote of V bhadrikinh »a Irartsvyg ins*ra(5
cf bhadrikaijam knnav>*o If adopt this reading, the Guhiri^a urouM th-
of Bhadra s^nciy
206
VlS><Ur)ltAK>lOTTARA
Mcklnli and at each of the two sides of the flight of steps three temples should
be placed Of these three the first ts of type without and
The first one is without the Mekhala In the middle js
ind the third one is without the Man^apa On its side two teniples of the Himavat
variety without the Mekhala should be made At the base of these steps two tem
pies arc to be placed on two sides TTicse pairs of temples having no pawhon
are called Devakula Dam^Jras in the Sam5nya vanety Similarly at the comer
on the top of the Jagati a devakula should be placed Here the central temple
with the pavilion should be erected The number of pavilions is four They
have Sikharas In the corners of the central temple and at the junctions of thcpavi
lions pairs of temples should be placed Here each pavilion should be beautified
with three doors and m (he fourth door a Garbhagrha should be placed The
gateways of the pavihons should be decorated with piUars The number of Sikbaras
in this temple is nine Of these eight arc equal m height and the ninth is higher
The central sikhara should be void of a ^ikhara (The meaning seems to be that
tlic body of thb central sikhara should not have a pointed pinnacle) It should
be decorated with various figures It should neither be skull-shaped nor pointed
like a Sula The remaining eight iSikharas should have kuharas and be equipped
With Jalas and Gavaksas The sikharas at all places should have amalasarakas
Cakras Patakas and Dhvajas This temple rising high looks hke being crowned
m the sky
In such a temple the courtyard should be extensive and beautified with
natural celestial waters properly banked Beyond Jt there should be four gale
keepers (D\arapalas) There should also be located a beautiful temple of the
DvaraSala type On the compound wall (PraVara) the beautiful {inner
caves) should be made m a row according to Ms C however compound walls
should be made in rows of the shape of Tn these the different mam
festations of Vi^nn can be placed AUernauvriy all mulinudes of gods may be
placed m their proper order
The above description of the great temple Sarvatobhadra dearly shows
that it was regarded as something unique One who budds this type of temple
becomes Cakravartin The sight of it destroys all evils and bestows bliss
In the appendix*' a chart has been given showing m a tabular form the
characteristics of the temples described above ^^c saw in the section on painting
that four varieties of Citta arc menhoned We would expect some such clasvi
fication of the temples also in our text Bui sign ficantly enough wc do not find
any mention m it of the usual classification of Nagara Dr^vida and Vesara
1 Appendix 4
TEMPLtj-BUILDING
207
This would go to confirm the opinion of Dr Tarapada Bhattacharya
According to which this classification was a very late innovation of the wntets
on Indian Vasluvidya and not known to the earlier writers of the North Indian
School of Vastu works I It was ‘ only in the South* Indian works on Vastu
<nat these terms Dravicja, Negara and Vesara are found together In that case
our text can be said to belong to the North Indian school of early writers on
arcbtecture In this view the list of temples in our text would belong mainly to
"'bat came to be known later as a Nagara style
Gupta period supplied the basic foundation of the later Indian architecture
lu this we find the two styles which came to be known by the terms Nagara and
Dravida (See Indian culture Vol VIII 1941-42 (pp 183-190) with their various
elaborations and ramifications
Classification
It would be, however, mtercstuig to attempt a classification of some of
Ibe temples described in our text into Nagara, Dravida and Vesara on the basis of
tbeir shapes ’
1 According io him Visvnkarrna PrakS^a, Brhatsamhita, Matsya PurSpa, Agni PurtSpa and
the Samarangana sutradhara of Bhoja are earlier works on Architecture of North India
A study on Vastu Vidya by Tarapada Bhattacbaiya, pp J56, 157, and 354
2 Mayamata and Kaiyapa
^ I have taken this basis of shapes from an article of Mr S K Sarasw-ali on Ongin of Mcdieral
Temple styles ’*( Indian Culturrpp IB3 190 Vol VIII ) Regarding Vesara as a mixed style
he describes the characteristics of NSgara and" DraviiJa os follosvs—* The three styles—(he
NJgara, the DrSvisJa and the Vesaja—are xdvrays disungmshed in ihe teats by Jheir shapes •
As for example, the texts are all agreed in laying down that a NSgara (emplc is quadrangular
“b over, / e, from the base to the Stupi t But this feature of the planus so veryncncraland
common that it is diRicuIt to consider it as a sure and distinctive cognisance of a particular-
*tylc In us origin every type of building may be found to have begun from a quadrangular
shape and to have retained it, with slight raodificaiions until a very late stage in evolution
The Octagonal and arcular shapes rcspeciivdy cf the DriviiJaaDd the Vesara styles arc also
Ifio inadequate lo be regarded os sure and distinguishing marW for Ihc 5t>lc concerned
^ndcT the ciroirmtanccs, one has to depend on ihc cMdcncc o{ ilic fronurauits ihcrmchej
Tor a kIlo^^ ledge of the particular form and fcalurcs of any one of ihc st> Ics.* (pages 55)
* I 5itrit hn?i. t —
t ^ [1 t —
Here stflpl simply meant the top of the iiVhara and should not be confjsed tmh the
4cmtcii crovming element ficchmatly known ss the stDpi or ttOriU) of the Drivids
Icmpld.
^ hott-ner oa the bosia of chanoenstia gnxn by Mr Saia?*au
According to nhauxcharya twenty Mpra templrt art given In iKe hit of one hend ej
208
VISNUDHAKMOTTARA
Negara temples—
Ananda, Grha, ValablU
Dravi^a temples—
Alaka, EkabhGtnika, Catu^kakah, Tnbhunil, Digbandha, D^i-
bhQrnalca, Nandana, Pancatab, P5nyatra. Mcru, Mandara, Vim5Jia
and Suktimat
Vesara temples—^
Nandi, Samudga, Gha^a and Padma
Comparison ^ith ArcWtectnral remains—
Considering the nch mformalion given by Vi^^udharmottara, it would
be very enlightening if ivc could identify different vanetics, their features and
characteristics with the remains of temples jn our country UnfortunaUly,
however, there is not enough material in the surviving mortuments to make an
attempted identification \cry successful Dr Tarapada Bhattacharja in his
Study on VSstuvidyS thmks that all the twenty NSgara temples described iQ Kis
work are included in the list of these hundred temples He also thinks that the
hundred and one temples of Vijnudhannottara belong mainly to the type of
Nagara temples
Dr Kramnsch also has devoted a whole chapter m the appendix to her
monumental work * The Hindu Temple ’ to this list of Vijuudharraoitara temples
(pp 41M21) She has based the discussion of the subject on the eightfold
division of the temples given m the text namely (1) Himavat, (2) Spngaia!,
and one temples of our icxt—They arc Mrru, htandara kaiiasa Vimdna Nandivardhan^,
Mandate. Ssrvatobhadn V^a, Sinjha, Kuftiara, Gha\a Psdma Gavvida
Caturasra, ^od^sasr^, Mrga and Gfbaraja
On the evidence of menuments, however, * the fundamental charactensiiw of a
temple arc the cruciform plan and the curvilinear toutr (^ikhara) (Page 166)
** iTi vh-t iwptc 'av -sarMMm ii'wi a
bigger square enclosure, covered and roofed over, as the pnidak?ina arour^d The division
of ihc cxicmal wtllU mto tucbci by pdastera « also a charveunsuc tltmcni of the South
Indian temples The conv-cx roll cornice tvith Caitya window motifs dcmarcaliitg each ol"
the stages and the Imie pav^Uotis in iht upper storeys may also be regarded as pccubw fcaltiree
of the style* (Page 188 J In addition to this a further point in corinccuou wiihDravidn
Style 1$ noted as foUo'ws— * The use. of the toll cornice carved VfiVh Vvcll shaped caiiyn arclwv
_a decorative scheme that came to be regarded as a dislinguishing mark of the DrJivida
style(Pigc 189)
Eventhough in the sccuon on PainUng the N3gnra Qua has been explained on the analogy
of ‘Nagara Pr^sSda on the pnnaplc of understanding she unkrtosvn from the kOov.-n It
appears that the fashion of classdytftg temples into styles might hav-e been an cvtcrtsion of
B Similar fashion in Oira
TEMPLC-RU^LDI^G
209
(3) ValabhT, (4) Malyavat, (5) Linga, (6) Caturasra, (7) Grha and (8)
KaiKsa
She IS of the opinion that ‘ Amongst extant buildings, few seem to conform
^th the three-fold division of the height ’ As to those that do ‘ belong to two
Wdely distant countries, the temples of Kashmir of the eighth and ninth cen-
tunes’ and to Hoyasala temple in Mysore about three centuries later. ’ (p 412)
She finds some resemblance of Valabh! temples in * the wellknowrs earl/
«hef rqiresentations m Sana etc and also the shape of the Bhima Ratha in
Mamallapura(p 413)
Temple at Nava-DevI in Yogessvara (Almora District), the Vaital Dcul in
Bbtivaneswara and the Tehkamandir (Gwahor) are compared to a type m which
the valabhT of group three appears placed on the top of the building of group one.
The Mamyar Math in Rajgir is regarded by her as an illustration of the Linga
or circular type of temples
To illustrate the sixth group she refers to certain representations m Barhut
reliefs
Tor the seventh group she does not find anything coming near it She,
however, thinks that the ' Draupadiratha in Mammallapuram would come near
tins type if Its roof could be considered as one of the shapes of the Valabhl and
Jf the tnple division of tlie height in lagatl, Kali and Talpa is not considered by
binding in this group ’
The SurarSt temple in the eighth group is compared with ‘ the certam'jam
temples on the one hand and the Hoyasala temple of Mysore on the other, both
of which date from C 1100 AD onward * (p 417)
As to the Sarvatobhadra vancty, she would refer to < Avantisv^ami temple
Kashmir and Kesava temple at Somanathpur in hfysorc
Eventhough Dr Kramrisch has made a very laudibla attempt to compare
and identify the various types of temples and their characteristics described in
our text One has to say that it is all \eiy conjectural
Further research both in the understanding of the text and a carefully minute
*l“dy of the existing remains of temples m the light of the information of our text
stiU not sufficient as to justify any definite or near denmic idenlification
Temples and gods
Adhyiyas 8S and 87 not only describe the xanous types of temples but
=>‘^0 eixe instructions as to the installation (Praii?th2) of parlicuhr deities in pam-
temples Generally, these instructions follow the description of each
In the previous section I have tried to give a connected account of thj
temples reserMng the topic of the installation of the deiues for this chapter.
210
Vi5 NUD11ARMDTT ARA
Wc will start with a general rule Wherever there is no specific instruction
about the particular detty to be installed in the particular tempje, all the multitudes
of gods may be installed but specnlly the multitudes of gods related lo Vj§nu
(Slo 130 Ad
After describing the Himavat, M5lyavat, ^rngavat, AgSra, Bhavana, Gfha,
Nijadha, 5vcta and Vindhya temples a general rule is given that all deities can be
installed irt the above types excepting m the Ag3ra and its varieties ( Ad 86 J§lo 17 )
In all the vaneucs of Agara only the Linga is to be installed Thus Agara and jis
varieties become ^aivitc temples
Valabhi—Brahman, Viji^u and MaheSvara or Ekanam^a between (Bala)
Rama and Kr^na^ or Tnlocana between Gancia and Skanda, or Janar-v
dana or Tvajja between the Sun and the Moon or according to the
reading of Mss A & B only Jan^rdana, ($lokas 26, 27) or only
Durga with many arms, or Lak§nil or Bhogasaya / e Vi$nu lying on
the body of the serpant or Janardana vsith his quadruple mamfestation
or Dhaneivara mcompany of Sakra, Kinl^n (i e Yama ) (^lokas 28,29)
and Varuna It has been explicilely enjoined that gods ol^cr than
those mentioned above should not be placed in a temple of VftlabhT
type (Slo 30)
Vfddhida—Han, the lord of the universe in his quadruple manifestation
(5lo 32)
^ Tnguna—Brahma, Visnu and Rudra ( Slo 34)
or Adilya, Vi$nu and Caiidra
or Ganesa, Rudra and Skanda ( Slo 35 )
Turaga—^ukra, ^ani* (38) Vjnayaka, Bhadrakali, Skaada and Lak^ml,
(39) or Nagas and Pramathas and not others
Kunjara— Kinnaras and Sakra and not others ( Slo 41)
Yathe^fa and Viiala—The Matfs, the Grahas, the N3k§atras, Addyas,
Vasus, Rudras, Vi^vadevas Maruts, Bhrgus, Angirasas Sadhyas?
the two Alvins, eight Dikpalas and live Bhutas i e elements ( 44 to 46 )
Bhadra—Bhadrakah ( 47 )
Kamala—eight Lokapalas m eight directions or Grahas ommitting Ketu
eight in number in the foltowtng order—Surya, Sukra, Kuja (i e Man-
gala), Rahu, Saura (re 5am), Candra, Budha and Guru or Mah3'
deva’^ jn the form manifesting eight aspects u- bhu, ja!a, aka^a, vahnl,
jndu, arka, marut, dikjata, (ie one consecrated for a sacrifice),
1 cf Sskuntala Sloka 1
TEMPLE-BUILDIhG
211
or Vasudeva in his eight fold manifestation^ (or Han m hjs four-fold
manifestation in the principal quarters and Asvasirsa, Varaha, Nara-
simha and Tnvikrama m the intermediate directions, Jsana etc )
(^lo 52 to 57)
Arunodaya—For all gods ( Slo 58)
Ganida—Aditya* m the mam temple and Danda and Fingalaka m the two
side temples or Sukra and Sam or Kesava and Sankara, or Candramas
in the mam temple and ^isira* and Ambupa i e Varuna m the side
temples, or Kamadeva in the mam temple and two Vanamdlmas in the
side temples or Devarad means Indrain the mam and two Vanamalinas
in the side temples Or Yama in the principal and Mrtyu and Ka!a
in the side or Vanina in the pnncipal and Gangt and Kalindi {i e
Yamuna) in the side temples Or Dhanadhyaksa ;e Kubera m the
mam and J>ankha and Padma in the side or Brahman in the principal
and Kesava and Isvara i e Siva in the side or Mahadeva in the mam
and either Visnu and Pitamaha or Vinayaka and Kumara or Virabhadra
and hlatidi m the side, Garuda in the main and Kasyapa and Vinata in
the side or Vasudeva in the mam and cither Rudra and Pitamaha or
Candra and Arka or Vanina and Anila or Laksmi and Kalaratri or
Anala (fire) and Anila (wind) or Tarksya and Ananta or Garuda
and Aruna or Dharma in the principal and Anha and Kama m the
side temples ( 62 to 77)
Sarva, Trailokya Linga, Sarvakita ^ Linga (82)
Brahmanda, and Sara J
Caturasra—^akra with multitudes of gods
or Yama wth Pitrs
1 The meaning of prablimc }apaitena €a is not clear , . - .
2 An inscription at Mandisaur records the construction of a temple to the Sun in the year
437 A D by a guild of weavers and its repair in the >’ear 473 A D Another on a copper¬
plate found at Indor m the Bulandshahar District in the United pronnees menimiu an
cndoivnient of Devavisnu m 4M A D for lighting a bmp m a temple of the Sun And in
» third ,s recorded a grant m 511 A D to a tempic of Adnya or the Sun A great many
"lore sun lemptes have been discovered especially m India from Mulien down w
Cutch and Northern Gujarat The rums of one exist at ModherJ cight«« mil« to the
Moth of Patvp in the last named provanee and they contain the date NIVranu 1053 cor-
r«pondmB ,a !0’7 A D Th,rc wais another at Gwahor constructed in the li^ cf Mifura-
kob the Huea rtince m the begmamg of the suih century (Page I34-\a„nav.sm
wnnlt however from the mere remains of these temples say whether the shar.- cf
‘bese sun temples was lAc that of a GarusSa temple or not ,
^ ThecombmatLof^dinandambupameaning^aruoais not dear Probably the reading
May be tnsimmbupau where initra or tnimi may mean Nubera.
212
V!SN\3DIIA!IK0TTAR\
ov Mah2k5!a ^v^th Matjs (E4)
or Nfsiriifia and Durgu, ihc moon and the
Nak^atra, the Sun with the grahas or
Vasukl v^ith serpents ($4, 85)
■) all the deities mentioned above as weU
Samckliala, Dvimckhalaand Mekhalddhya ^as those not mentioned should be
j placed here as courtiers (^lo 87)
Dlnjnya, ^alya, Budha and Indu—any deity that one desires to install ( Slo 89)
Gfhi or Guha—Lak$nil (^lo 91)
Bahubhumi'—for a31 gods ( Slo 92)
Guharvja—Dliadrakali or Vi^nu lying on the serpent bed ( Slo 100)
Lokapala—The Lokapalas (^lo 120)
Mahabliuta—Mahjbhnta ( Slo 120)
Dicbandha—all gods (^lo 122 )
Akasanl—Akasa ( §lo 126)
There are mstructions also about the combination of the deities When
the Candra and Arka are m the same apartment they should not be mned with
other gods They should face towards each other’s direction the east and the
west but not the south and the north Similarly Skanda and Vinayaka Naga.and
Garuda, Yatna and Mahesvara, Mahakala and Nfsimha and Rakta and Suska
should not be placed together in the same Veima i e apartment KSmadeva
should not be placed with Brahman, Rudra, Yama and Bhadrakali similarly
Varuna and Anala ( fire )
Two images of one god should not be made but two images of the great
Visnu can be made according to the manifestation (prddurbhava=A\atara)
Also those gods whose pairing is prohibited may be placed in the company of
other gods The Sun and the Moon may be accompanied by the row of G ahas
(planets) Skanda and Vinajaka should be near Mahadeva, similarly Seja
and Tark$ya near Vasudeva In this way even the opposing gods may be brought
together suitably in the company of other gods
Samotabhadra
Han in his four fold aspect is the principal god to be installed in thff
Sarvatobhadra temple ( verse 1 ) Vasudeva faces the east or west but no other
direction (v 17) First the direction which Vasudeva has to face, must be fixed
up and when Vasudeva faces the cast in accordance with that Samkarjana faces
the south, nfver that Prdyumna the west, Aniruddba the north Lak^mi should be
placed to the right of the eastern Man^apa Nidra to the left of the South Matjdaps
and Kalaratn to the right of the southern Mandapa, to the left of the wesierQ
Mandapa Siddhi and Ratt to its right, to the left of the north KJrti and lo
TEMPLE* BUILDING
213
ght Sarasvati, (o the left of the cast Pusti AsvaSir§a, Varaha, Narasimha and
nvikrama arc to be installed in the temples at the corners t e in the mtermediaiy
ireciions beginning with Ai^ani in due order The following twenty four deities
3re to be placed m small temples which have a mekhala band Among these
ty four Ananfa^ Makaraj ivaustubha are also included and considered as
eilies (caturvimSatintyctc vibudha vibudoltann) and also the weapon divinities
Ayudhapurusas of the respective aspects of Visnu are given in the list of twenty-
r gods They arc Tarksya, ^ankha, Padmaj Cakra, Langala, Mubala, Ananta,
ada, Tala, Trisula, Sarnga, Sara, Makara, Parasu, Mudgara, Carma, Pasa,
atlisa Nandaka, ^akti, Musti, Vajra, Kaustubha and Vanamala
The following deities are to be installed m the Damstradevagrhas _
™ta and Agni in the eastern direction, Yama and Nirrti m the southern direc-
bon, Varuna and Anila in the western direction and Dhanesvara and Mahesvara
m the Northern direction Eight planets are to be placed in the Damst a temples
as under Sun and Venus m the eastern temples, Ma s and Rahu m the
southern, Saturn and the Moon in the western. Mercury and Jupiter in the nor*
‘hern Two Darastra temples are dedicated to Subhadra and Yasubhadra, the
mtiharas of Vasudeva Asadha and Yajnatara of Sankarsana, Jaya and Vijaya
Pradyumna and Anoda and Pramoda of Aniruddha should be similarly
placed in other Damstra temples They are all Digp das and Grahas
The images to be placed on the Jagati band are Gayatri, four Vedas, Vai-
5oavi Aparajita Mrtyu, Kala, Yama, Danda, Kavaca, Sara, Sankhya, Yoga,
‘he Pahearatra system, the Pasupata system, Vyasa, Valmiki, Markanda and
Mahabhutas one after the other
benefits of building Sairatobhadra temple
One who builds such a temple and properly worships all gods is called a
^^ravarlm m the firet Kalpa of the Tretayuga One who builds the surrounding
‘emples lives in the heaven as long as he desires and then he is united with Visnu
0ns who worships all the gods with the parafernaha of gandha, malya nama-
Skara, dhupa, dipa and anna in tlus temple, one gets the benefit of making the
of three worlds Undoubtedly he gets whatever he desires
As soon as this very beautiful temple with its Cakra and Pataka comes
sight all the troubles disappear One who enters this temple has no disease,
Unnatural death and the calamities Yogmis, Yaksas, Raksasas, Pretas and
■^yakas have no power over such a person All the principal Sattvatas attain
^onunuinon with Vi§nu All the male and female servants who are in the house
to heaven and remain there till the time of 14 Indras
The king m whose dominion such a temple exists, remains in the heaven
Indra and enjoys happiness for a long time Any one who offers a Pauka
his sm swept away by it (i e the Pataka) Calamities do not arise for hiiq
214
VlSNUDIUT^HOTrARA
and he obtains excellent ment One who builds such a temple is born in tbe-
next birth as a cakravactm
The water of the place is always holy (tFrtha) When a dramatic per¬
formance (yJtra) is given at that holy place, all the gods with Indra the great
omniscient Rjis and ancient Rajarjis f c holy kings with their followers who
residing in heaven and whose exploits arc like that of Indra, Gandharvas, Apsaras,
and the benciolcnt BliQtaganas in bodily forms come to witness the great festival
of the god The man who witnesses this great festival undoubtedly attains
prosperity (kalyiria )
No one should damage in any way the Devadravya t e the property of god
The king or his appointed officer who docs this goes to terrible hells with his SOnS,
relatives and cattle and in this world undoubtedly he loses his position Those
who are devotees m this place, prosper by the grace of the god of gods. Visnu
with their cattle and hoards of wealth Such a temple even made by others must
be seen because the sight of it frees a man from all sin and gets him merit ( \erses
44 to 6\ Ad 88 )
Thus the section on Prasadalakjana opens before us a vision of one
hundred and one varieties of temples E\enthough, the picture in many details
IS vague, wc have much definite information from which it will be possible to
understand the progress of temple architecture m the age of Visnudharmottara
Much of this architecture has disappeared in course of time Still it will be
worth while for a student of art and archaeology to study the surviving moflu
meats in the country in the light of the inforniation'denved from the Visgu-
dharmottara.
XII
ART AND RELIGION
The inquiry which started with the question of Vajra as to what bring?
appiness m this world and the next has now been fully answered in detail
y Markandeya Making of images and inducting deities into them, building
^ and the worship of gods give the desired happiness But before one
could do this, one had to master all arts—arts of sound and arts of form Mar-
anijeya has thus covered the whole field of fine arts—architecture, sculpture,
painting, dance, music, drama and poetry All these arts are taught as bearing
one another and as arts in their own natures These arts as implied by
^rkandeya have their final culmination m the temples of gods
The principle of rasa has been explained in detail in Ad 30 In Sanskrit
the principle of rasa is associated primarily with Natya and Kavya
^nudharmottara however, extends this principle tt other arts as well
Let us recapitulate what our text has to say in this matter
Kavyarasa
About Kavya, it is said that its action ( karya) should be accompanied by
nine rasas vtz Hasya, Srngata, Karuria, Vira, Raudra, Bhayanaka, Blbhatsa,
Adbhuta and Santa (Ad Slo 15)
Natya—
Coming to Nalya we find that the above mentioned nine rasas are char¬
acterized as Natyarasas (Verse 61, Ad 17) It is said that the predominant
future of Natya is Rasa ( Rasah pradhanamevaitatsarva natyam) and therefore
III all its Varieties the composition should follow Rasa (Bandho rasanugah karyah
sarvesvetesu yatnatah Slo 62) The different forms of Rnpakas are distin¬
guished by the predommence of one or the other Rasa All the rasas and the
find scope m a Nataka In a Napka, « predominant The
holds good about Prakarara and Prakaram In UtsRlakanka Karuna
IS predominant Samavakara has three types of ^rngara based upon Dharma,
AfUia and Kama
lhamrga has Srng.ira as its predominant Rasa but its nature is different
/■uni the ordinary ^itigara in as much as one has to seek after, or fight for one’s
“eloved In Vyayoga, Dipta i e \ara rasa is predominant In Pima—Raudra
^ Predominant, while m Prahasana Hasya is predominant (Ad 17 5lo s 19 28 )
YlSNta^lIARMOTTAR A
216
Gita—
While discussing Gifa (Ad J 8 ) oirr text says purvolctasca navaras^h ie
the nme rasas mentioned before have also their place in Gita Difrcrent notes
are supposed to evoke different rasas for example—Madhjaraa and Paficama
indicate Hasya and ^mgara, SaiJja and Rsabha, Vira, Raudra and Abdhuta,
Ni^Sda and Gandhara Kamnat Dhaivata Bibhatsa and Bhayanaka, and Ma-
dhyama ^Qnla The three layas also express particular rasas Thus Madhyama
laya has its place in Hasya and S rgara, Vilambita in Bibhatsa and Bhayanaka
and Druta m Vira, Raudra and Adb uta ( Vol 1 P 44)
While describing the play of ih' \ariou> Talas on Mfdanga etc our text
says that AdditS has its place m Srngara and Hasya, Vjfasta m Vfra, Raudra
and Adbhuta, Alipta in Karuna and ;§anta and GomukhI m Bibhatsa and Bhaj2-
naka (Vol 1 p 46)
Nrlta-Nrt>a—
While describing Nrtta or Nrtya (Ad 20, ^lo 62) our text sajs jt should
fee accompanied by Rasa and Bhava and that it should be in harmony \\i(h the
Kavyarasa ( rasena bhavena kavyarasanugam ca ^lo 62) It is also said that
Rasa is the root of the Nafya and there can be no Nrtta without Rasa—'therefore
one should try to have Nrtta based upon Rasa ( Sloka 29, Ad 30) The four
^Vrttis,—Bharati, Sattvali Arabhati and Kaisiki—the four styles of dancing and
of art in general—^havc their specific rasas ( Ad 20, Slo 56 ) Vira is predo-
imnant in Bharati, Sattvati in the former particularly through Vak or speech,
Raudra in Arabliati Spigara and Hasya in Kaisiki (A 20, Slos56 58)
While describing the various postures and movements of dance tte had
occasion to note liow these express different sentirnents and emotions I have
Also referred to the 36 rasadrstis indicating the different rasas and bhavas ( Ad 25 )
These Dr${is have a special significance for not only dancing and acting but also
for Citra re painting and sculpture Tlie point to be noted 15 that out of 36
Prstis nine arc called Rasadrstis after the names of the various rasas excepting
T'ja dr.sr;. caUed. Vanl.u uid. 'Jia 'ithfiS'-ma. -lal/ft.'i TthmA--
paka, Hasia Karuna. Adbhuta, Raudra, Vira, Bibhals5 and ^aatJ As we hav'c
seen even the movements of eyeballs and ejebrows are associated with different
eentimcnts and emotions Some of the Gatis are also named after the rasas
which they are supposed to express eg Sfiiganni, Bibhatsika, Sthirapada for
Karuna etc In short the Abhinayas of Angas and Upangas are related to the
expression of particular rasas and bhavas
In the Citrasutra our text says that bke Nrtta, Citra represents the three
worlds— in modert phraseology painting and sculpture are representative' arts
like dancing and acting
i Compare AdhySya 42 iloka 43 SSdrlj^taranam
k
ART AND RELIGION
217
Therefore the Anga and Upangakannas, the rasa and bhava Dfsfis de-
SOTbed previously apply here also (Ad 35, glo 5,6, Ad 43. glo 37) It is
wra expressly stated that rasas and bhavas mentioned before should also be
expressed iti Citra
In addition to these general remarks one whole Adhyaja 43 is devoted
to the topic of nine Citrarasas
1 have discussed the citrarasas and the matter incidental to them in the
section on Citra
In the case of Citra not only the category of rasas but the categories of
Pna, dosa and bhusana or alamkara are apphed to it These also have been
dealt with at the appropnate places
Concept of rasa—
Tlius we find that the concept of rasa pervades all the arts excepting that
of temple building or architecture In the arts of painting and sculpture it is
Specifically called Citrarasa while in the arts of Poetry, Music, Drama and Dance,
d IS known as «itnply rasa or kavwarasa and natyarasa It is significant that the
Pnnciple of rasa does not extend to the art of temple building or architecture
^is limitation implies that the pnnciple of rasa holds good m imitalisc or re¬
presentative arts The theory of rasa anses pnmanly out of the cxpenence of
^ntiments and emotions (sthayi and sancanbhavas) These arc essentially
Jiuman and so the means of evoking them have to bear some semblance to
conditions which arouse human emotions The arts of music, dance, drama
and poetry on one hand and painting and sculpture on the other provide such
Architecture having no such semblance could not be taken as csoking
kind of rasa However this may category in Visnudharraottam Though, it
not enunciated as a theory of acsthcUcs in so many words, it is implicit m
<he treatment of different representative arts
These arts and the rasas that they evoked were pnmanly humanistic like all
other valuable things to men The ^arts were also offered to divmity by way of
^ Compare the following verses from \ijoudhanro tara edited b> Vyanlaiclwara Press,
^WfTRRlfr 11
5 it
^t^i xr ifta *
218
VlSNUDIIARMOTTAIiA
worship As such their content became religious and the emotions that they
evoked though human in their nature became subimated It is the fascination
of this sublimated tq which really explains the religious turn that artistic im¬
pulses took m ancient India The impulse of subhmation is found working even
in the field of religion itself
The first attempt to make anthropomorphic concepts of gods and goddesses
superhuman has resulted in giving them huge forms with more heads, hands and
eyes more terrific weapons and strange vehicles This however, could not satisfy
the finer religious understanding of the cultured people As a result of this dis¬
satisfaction which may have been due to either the spmtual infiuences of the
Vedantic, Buddhist and Jam thought or the mystic understanding of these deities,
an attempt seems to have been made in the age of Visnudharmottara to gue these
utihuman features of deities as well as their weapons, insignia, vehicles etc a meta¬
physical and a spnitual meaning The technical word for this sort of explanation is
Hetu as we have seen These ‘Hetus’ carry the expressions of religious myths incon-
nection with gods to the plane of divine consciousness of the universe The
worship of gods is not the worship of material objects of which the images arc
made but is the worship of divinity in its manifold relation of the universe The
divinity IS worshipped as the source, maintenance and disappearance of the universe
as well as the inspiration of spiritual and moral light in human consciousness In
short, this view of gods and their emblems prepares for a mystic vision of the
divinities
The same inspiration is seen in the discussion of avahanaprjyojana where
It js suggested that a man passes from the paramurli of god to the aparamurti t ^
from the worship of his inducted divine presence (paufusi) jn an image to the
contemplation of the divine in a purely spiritual way (Sanya) (Ad 108)
The spiiilual experience has an affinity with rasanubhava or aesthetic ex¬
perience Later writers have attempted to describe the nature of rasariabhava
Accord ng to Abh navagupta the essence of Rasa is Nirvighna Samvittih (NS
P <t80 G O S ) and is known amongst literary critics by such words as Camat-
k ira, NirveSa, Rasana Asvadana Ehoga, Sanaapatti, Laya, Viiranti etc. The last
qi^T tl
tT^T I
rfft ii
3 f . ^*1 ^
ART AKD RtLIGION
219
three words SamSpatti, Laya and Vilranti are the words which are also used to
denote the highest state of spiritual expenence According to Abhinavagupta the
concomitant condition of Rasanubhava is Prakasa whicli is essence of Ananda
He compares the cognition of Rasa with the highest expenence of a Yogin and
distinguishes it from Yogi’s expenence by the fact that the Rasanubhava is
characterized by beauty ( Saundarya ) while the Yogi’s expenence is devoid of it
( Saundarya Virahat) ( N S Vol I p 286) Thus the experience of Rasa being
akin to this mystic vision of the divinities makes arts eminently fitted as modes
of worsbp The contribution of the third Kanda of Visnudharmottara m under¬
standing ancient Indian Culture lies m expressing this relation of art and religion
By Its inherent, akinness, the aesthetic expenence could easily grow mlo spiiitual
and mystic experience The perception of this harmony in beauty and divinity
led to the great synthesis of art and religion in ancient Indian Culture
APPENDIX II
Icono^raptilcal Materials from other Purauas
AgrtipUrJna—Adhjaya 46—^^alagrarna,
Adhyaya 49—Mats} a, Kurtna* Vardha^ Narasmiha* Rama, Para<U'^
Tama, Balarama, V5man^ Buddha, Kalki, Vasudeva, Pradyumna,
Aniruddlia, Brahma, Sarasvvati, Lakjml, Harl, Datta-
treya< Gaurl
Adhyaya 50^Candf, Navacandilca, Rambha, LaljtS, Lak^mf, SaraswalT,
Janhavi, Yamuna, Gaurf, Brahnu, Tumburu, Sankarl ( KarUfccya ),
VarShi, Vinayaka, Canijika, Durga, Bhara^T
Adhyaya 51 —Surya, Bhaskara, Aryama, Parjanya, Vi 5 n'u, I^a,
Mahdkala, Kapda, Budha, Sukra, Rahu, Ketu, Taksaka, Kuhka,
Jndra, Agni, Yama, Vanina, Vayu, Kubera, Lokapala, Hanumana,
Kirtnara, Vidyadhara, Pjiaca, VetaJa
Adhylya 52—Sixty-four Yogi ms
AdhylyA 53—Linga
Matsya PuTana—Adhyaya 126—The Sun and the Moon with then vehicles
Adhyaya 259— Siva, Katar5ja Siva, YogiSvara Siva, Bhaimva
AdhySya 260—ArdhanarTsvara, Sivanarayana, Mahavaraha, Nara-
simJia, Vamana, Brahma, Karfika, Ganeia> Kity^yanl, Mahi-
sasuramardini, Indra
Adhyaya 261—Surya, Agni, Yama, Dharmardja, Lord Vanina, Tn^uh-
pani, Kubera, lilna, MatjkSs
Naradiya Purana—Adhyaya—85—K5hka
Adhyaya—^86—Mahalak^ml
Adhyaya—S8— Sn Radh5
Bhavjsya Parana—Adhyaya 132—Suiya
Adhyaya 12—Visnu, Vasudeva, Nfsimha, Hayagrit^, Naray^a^ia,
Mahe^a, Durga, Lak^mr, Saraswati
Skatida Purana—^Adhyaya 15—^Parcavadana MQiti
Adhyaya. 19—Rama, Kr^na, Vasudeva, and Subhadra
Adhyaya 72—Bhairavl etc
Adhyaya 63—Rama ( Daiaiathi)
KShka Parana—^Adhylya 62—Bhadmkali,
Devi Bhagavata^AdhySya 50—hlahakall, Mahisasuramaiduir, Maha-
sarasvxati
S3mba Purana—Adhyaya 6—Sun
Adhyaya 21—The Sun and lus Chanot.
APPENDIX m
Emblems of various deities represented on their images as ghen in V,D.
Images
Hands
Weapons
- Other cifiblenis
Right
Left
Brahma
4
rosary
waterpot
(Kamandalu)
Vijnu
8
an arrow
a rosary
a club
a sljn
a garment
a bow
^iva
10
a rosary
a trident
an arrow
a staff
a lotus
a citron
a bow
a mirror
a water-pot
a skin
three eyes, Lunar dc-
git on the forehead
of Siva,
Brahman
4
rosary
watcr-pot
a chariot with seven
swans.
Vasiidcva
2
Sun
Moon
Samkarjana
2
club
Ploughshare
Pradyumna
2
bow
arrow
Aniruddhi
2
shield
Sword
Mahadeva
2
aksamila
Kamandalu
SadaSiva
2
bow
arrow
Bhaira\a
2
staff
citron
Nandi
2
shield
trident
Uma
2
Mirror
Lotus
Nasatja
2
dninc medicinal
Books
Salja
4
plants
lotus
elephant-goad
on the back of
Sacl
Thunder bolt
the elephant with
four tusks.
Sacl
2
Rcstins on the
back, of Sakra
Sprout of the
Santana
Varna
4
Sceptre
Sword
On the back of
DhCmorra
Skin
On a buffa'o.
224
vjsnudharmottara
/mages
Hands ■
Wea/?ons
Right Left
- Other emb!e7tis
DhGmorpa
2
On the back of
Yaraa
Beautiful Cjtron
CitfagUpta
2
A ptn
A leaf
Varuna
4
Lotus
Noose
Conch
Jewel-box :
Chariot with seven
swans
Gauri
2
On the back of
Vamna
blue-lotus
Gafiga
2
Camara
Lotus
On Makara,
Yaratina
2
Omara
NUotpala
On Tortoise,
Kubera
Mace
speat
Jewel-box
on the back
of ^Lddhi
Man as his vetucic.
A flag by an emblem
of bon.
Rddhi
4
2
On the back of
Kubera
Jewelled %e'ssel
Tark5y3
4
An 'umbrella
A full pitcher
Two hands-folded
or Two hands support the feet of
Bod
and Two hands folded
Gaurhvara 4 Rosary, Trident Mirror, Lotus The left half of Swa’s
body is Paivati.
Vahni 4 Flames, Tndent Rosary, on the Chariot yoked by
back of Svaha parrots
Svaha 2. On the back of Jewelled vessel
Vabtn
Vjrijpak^a
2
Staff
On the back of
Nir^tv
Vehicle-a Camel.
Mjrrti
2
On the back of
VtrQplksa
Noose
vayu
2
Holding by both the hands ttie end
of a garment
^iva
Bhairava
2
A snake
(On the back of
Garland of skulls
PJrvatT)
snake ornaments
Vijnu
Main
2
Club
^lecl
4
JcWCbvCSSCl
Vessel full of
Seated on the back
Com-vessel
medicinal plants
Lotus
of four elephants.
APPENDIX
225
Images
Hands
Weapons
Other emblems
Right
Left
Gagana
2
Sun
Moon
Brahma
as described above
Seated on a lotus-
seat
Savitrl
2
(On the back of
A garland of
Brahma)
rosary-beads
Saraswatl
4
Book
Kamani^alu
Rosary
fVina)
Ananta
4
Lotus
Plough
Many hoods, on the
Sea of liquor
Conch
tniddle hood the
«
earth goddess should
be placed
Tumburu
Citron
Skull
On a bull
Jaya
2
Staff
Skull
Man as vehicle
Vijaya
2
Sword
Skull
An owl as Vehicle
Jayanti
2
Rosary
Skull
On horse
AparajUa
2
Small Javelin
Skull
Bom on a cloud
Sun
4
In two hands sunbeams as reins
A chariot with seven
two hands on the heads of Danda
horses A banner
and Pingala
bearing the mark of
a hon
Prgnala
2
Palm leaf
Pen
Danda
2
Shield
Lance
Moon
4
Two white
A chariot with ten
Lotuses on the
horses A banner
back of Lustre
bcanng the mark of
(Kanti) and Beauty (SobhS)
a lion
Bhauma *1
Budha 1
2
A book
Rosary
A golden car vMth
eight horses
Bfhaspati /
^ukra
2
Jewel receptacle
Book
A car with ten horses
Sam
2
Staff
Rosary
An iron chariot
drawn by eight scr^
pants
Rahu
empty hand
Future Manu
2
A water \csscl
Rosary
A \^alian3 of pea¬
Runiara
4
Cock
Flag Vaijayanii
BcU
A spear
cock
V29
2:6
VISNUD HAK MOTTAR A
Images
Hands -
Weapons
Left
- Other emblcnts
Bhadrakali
18 Rosary
Spoon
In the posture of
Trident
Ladle
alr^ba on a car
Sword
Scal*ring
drawn by four lions.
Shield
\Vater*sesscl
Bow
Staff
Arrow
Spear
Conch
Black antelope
Lotus
skin
fire ,
in abhaya Pose
JeweLxessel
Vmayaka
4 Trident
Axe
Face of an elephant;
Rosary
Vessel full of
Big belly
sweets
AdlU 1
Did
Danu
K2sfhl
Dinayu
Simhika
Ivlurii 2 AM these divine mothers shotild be represented aS cn-
Kadni ga^ed m making images
Krodhd
Turd
Pradhi
Vinatd
Sura bln
Khasa
Dhruva
2
Wheel
Rays
The sons of
Sukra and
Jayanta
2
Bow
Arrow
Lord the
json of Yama
2
Spear
Shi-eld
Puskara
Nalakuxcra
Purojava
2
Sword
A jewel vessel
A lotus at ca^c
Book
Naxvdi (Ad 73)
4
Trident
Short Ja\clm
Three c>cs
Kama
S
Bow
Arrow
Makara as
Four of hvs hnnds should be shown an emblem m Ins
touclung tlie bosoms of !us >vi\cs flag
APPr:>*nTx
227
images
Weapons
Hnndx - _ -
Right left
— Otlicv einbhiiis
Saraswati
4 Rosary Book
Trident Water-vessel
Varum'
A pitcher
Camun^a
A spear
iSuskd
Many
Three faces. Sur-
Bhrmu
A
hands
rounded by snakes.
Khatvanga
A garland of
skulls.
Sjva
A Vessel full of Spear
Standing in the
blood Sword flesh
alidha posture, a
jekal-face.
Eastern direc-
Seated on an ele-
tiou
phant.
Soutfiern-eastera
Sealed on female
Elephant.
Southern
On a chariot
South-VVestefQ
Seated on a Camel.
West
Seated on a Horse.
North-east
Seated on a Bull.
Kaia
Noose
Serpents, Scorpions.
Fever
3 ashes as his weapon
Dhanvantari
2 A pitcher full of Nectar in bolli
of Ins hands.
S^maveda
The face of a dog.
Nara
2 rosaries
Bctvvccn these two
there should be
Badarl. Both arc
Narayana
4 rosaries
sealed on an ciplit-
w heeled beautiful
chariot.
Dharma
4 Rosary The booh
Four faces.
Other hands should bo placed on
Four legs.
the head of Vya^ asj>a and Happi¬
ness
Narasiihha
4 The coneh Club
Piercing the heart of
*
Wheel Lotus
Ihranvakahpu with
sharp nails.
228
visnudiukmott;\ra
jycapons
Iniagcs
Hands
Other emblenis
Highf
Left
Hati
2
Resting on the heads of Gadd
Seated oa a lioa-
(Personified club)
throne
:§e$a
4
Plough
Mace
Snake ornaments
Two hands joined m the anjah
Pose
bhagavln, on.
4
Conch
Wheel
the back oF
Bhagavan with
Lotus
Mace
With raised spear
Hiranyak§a
and With the wheel
ready to cut off the
head of HiranjSkfa
Hayagriva
S
The conch
Mace
Wheel
Lotus
Four hands on the hea^ of per-
sooifitd \cdas
Padmanabha
4
Extended
over Under the head
the knee
( of the god )
Placed on
the holding a sprout
navel
of SanlSna (tree)
3_akfmv
2
Beautiful lotuses m the hand
( near Hari)
Lak§rnf (alone
4
Lotus with long Nectar-pot
Behind her back a
seated)
stalk
pair of elephants
Conth
Biha
pounng out the con¬
tents of two jars
Lakjml
2
Conch
Lotus
Standing on a lotus
(standing)
Vidyadhara
2
Tb<f head
S\\ord
Engaged in looking
at the goddess
Vatnana
A staff
Havingnarrowjojnts
and ready for study
Trmkrama
Staff, Noose and Conch
Rama (JP
An axe
Malted locks of hair
Paraiu Rima )
APPENDIX
229
Images
yVenpotis
Bight Left
Vriodara
A dub
Yery plumb body,
lean middle, bent
glance and contract¬
ed eye-brows.
Arjuna
Bow, Arrow
Nakula and
Swords, Shields
Like A5vins but
Sahade\a
without medicinal
plants.
Bala (j e.
Carrying the plough-share and the
Eyes dilated through
Bala Rama )
dub
wine.
RuJcmiijr
A blue lotus
Satyabhama
Riding on a camel.
Samba
A dub
By his sides two
female attendants
with sw ords in
hands.
Yuyudhana
Bow
Arrow
APPENDIX IV
Characlcr'strs of Hanircd anJ one (eipplcs ( as dcs:ril)cil In VlsnaJhirmoftani)
230
VJS Nir PIM RM OTTA n A
1 eIi
<&
SSc
1 li>l
rt u «
ij Of/S’
111
MM
( 1 C
* H E?G c ^ -3
«
llcM 1 1 1
S-
’ "e;
Mi?
in 1
1 i 1
MM
MM |l
M 1 M M
■La
>
r3
1 i !r
a
Sh
Mil
rt »—
i f ii?
3
1 1 1 1
Pm
MM M
11 I|ll|
1 n >.
i M i
1 i 1
1 M i
M M In i M M i
M
0C,
>-
1 1 E» 1
1 1 1 ~
11 i
(ill
U M
M 1 It 1 I
U 1 1
Eli 1
111
U I 1
EMI M
! 1 ^itl 1
<n
r>
I N r| 11* INI ‘ 'HU U *'" ‘ i' ’ 'j
"n ^ ^
^ 1 1 1
^ f
>-
Brr 1
a
[-.MI
2
♦n f
1
>
I rrEUI
1 M 1 U1
! if!
< i 1
U M 1
I I 1
1 {MM
rt
trv
<
C
1 I 1 1 H
1 Ul
I \ 1
U M 1
MM
1 1 M M
Mekhala Kuta Dutra Jaha Sikhara Bluml 5faf«Wra Valobhi Bhul
232
VlSMUDHARMQrXARA <?
Gh!:
n « b CO .i= ‘S' «
Vi-u U ^ H <
M
•V
n
2 .
e
^ 1 s 1 a
^ TJ * c
n cs
v> «4
s
II ij131ai
1 II! ) )ai|-S 1 !
ir
■*t>
^ - -
1
III
1 1 1
11 n
III! (I
oo
1
I 1 !
|if
Mil
111:0111
>5
1
Isl
1 1 1
11 &i
Mil M
1
NO
1
i
« I 1
J u
1 1 f vs
MM M
aa
I E- 1 M
» * ' "
<n
I
1 1 1
isl
;a
Mil
>
■♦ 1
%
:S'
1 1 (
11 1
(Ml
1 ! N ^!
a
s/i
I
^ 1 I
j oo ^
fj U
I ^ *t 1
III (111J11111 f r 111111 I
! isiff 111
:S 3
I I M I I f
] M i I I I M i 1 I I H n I
U U|i M M 1 I IS i2 1 i I
I M lit 1 I l 1 l
I
Is 1^1
ti
g
I
fS
II I I I I I I I I I I I If I I I I I U I Ir. r I I ! I I I
t
i3
«S
iSr.
;S
111 M 1
n
;>
I 1 Ml
z
z
z
1 M 1
<s
~ rt
st:s
•eiE
l-'knH
fs 55^^
mC! O ^
O 0§t"'
W ^ vj r3F»lo»^^* ^ &
_ rt «* j-^ ^
ill g^-isr-Ss-
gpPQP2^^;z;;z;
o o ^
VO
^ o> O oo
vo</^ •«
-9:= o o o o o
^^ S J §<3
|i-g c-E slS^g a|^2>^5 2S«^
iS^SStSaBaBoSESSSSiz:^ «
IS "2
(4
M^khata Ku(a Dyura Julia i§iC./i<ira Bhumi Starr bha \a!abht Bhttrl A^cra
234
V15NUD1 UK^IOTTARA
e^
CO
v>
aicle I I ill I I I
J ?C3S
mi -II
s
n
I c-
fci
s/j
_ r4
a CO
o
CN o^sia
XO^'COr-*
ra t—
S22-S
S'■a
1 1 s
3 C
u f M
js&i a|
tl
>
c c ^
r 11
1 1 1 1 1 f 1 1
1111 1 r
BB\
21 a
1 1 )|l 1 i i
1 lsl5 1
> ;h
I I
1 111 i 11 111111 I f I 11111 i I M 111 I n I i
1111 11 u 1 1 1 1 i I r I 111 i = n I M I M I I u
1 Is i
a
>>
\ I
1 ^
I I i I M n 11 I M M
III! ) I I I I I M f M I I J I I I I I I I I r I I 1 -^ M
1 I I
(Ml 1
,.r
1 V 1 1
1 1 1
I 1 f 1 1
a
><
Mill
1 1 1
M (r^ 1 1
l ( M
M M 1 1
III 1 1
1 1 1
- I I I I I I
^*5
«« u
>e
Igll^
'O
o
r^n
VO-
oo
O
v3
m
Q
'E?
<5*
fS
E'CO'</> DtfO«0
ri
» nf « *-*. n ri ;h
^ c S ^
Cl
ra I* — »» S ^ ^ CJ
E ^
-3 _2.pr
3 £♦ o
*
5 -cS
^ ^
^ S.
^ o
O \D ^
p5 •VQ^^
c-Si
^^'V'</5 ^ ^ ^
5 £ 2.£^a2 2
>c/i^va'4r V5 V* V ^
^ O O o
£ 535 :
v> eisr
Se C e
©own
uacrt W(/5
'I
o
*r» ^
a\ «o
oa
-2
CS'C
J;
cn c/3
fN 0
r >4 ^
« *3
S 2
rt *0 5
ill
a '§ 3
Vi Vi ^
APPENDIX V
Lh(s of temples accordion to Puranas, Drliatssmhlta aod ^^aQ3$aTa
V D TCNfPEES
1
Ihma\^n
36
Kamata
2
Malyavin
37
Arunodaya
3
£fnga\in
38
Guha
4
Agira
39
Camda
5
Dliavana
40
£ar\a
6
Grha
41
Trailokya
7
Nijadha
42
Linga
8
Nila
43
5arvakT[a
9
^veta
44
Brahraapdd
10
Vmdh>a
45
Sara
II
Vahbhl
46
Caturasra
12
Vfddinda
47
Satnckhala
13
Trjguna
48
Dvimckhala
14
^ikhara
49
Mekhalidhya
15
Nrgff^^
50
16
Vjtti
51
^alya
17
Kamada
52
Bud ha
18
Turaga
53
Jndu
19
Kunjara
54
Candra
20
Yathc§ta
55
Mcgha
21
Vi^ala
56
Ambuda
22
Bhadra
57
AKaSa
23
DvaraSila
58
Cfha
24
Subhadra
59
BahubhQniJka
25
Gandhamtdana
60
McrD
26
Suktimana
61
Tfiku{a
27
Mandara
62
Saumya
28
Panyatra
63
KjjarJja
29
Alafca
64
Dharanidbara
30
Vjmana
65
Vimana
31
Nandana
66
Surarat
32
Pancaka
67
Ananda
33
Caturaska
68
Susama
34
Tnbhtiini
69
Prabhanjana
35
Dsabhfirtu
70
Vjfvakanna
APPEKDIX
239
71
Ekabhumi
86
Mrdanga
72
Samudga
87
Vajra
73
Nandi
88
Lokapala
74
Guharaja
89
Digbandha
75
Vrsa
90
Samanya
76
Hamsa
91
Suguha
77
Ghata
92
Triguna
78
Simha
93
Nandaka
79
Mandapa
94
AkdSani
80
Dvadasasn
95
^ankha
81
Sadasri
96
SodaSasn
82
Astasn
97
Vaijayanta
83
Kaila^a
98
Anibuda
84
Mahasumana
99
Mangala
85
Chhatra
100
Sarvatobhadra
AGNl PURANA
I Vairaja — Quandrangular or square ( Catusrah j
1 Meru
2 Mandara
3 Vimana
4 Bhadra
5 Sarvatobhadra
11 Pujpaka — Rectangular
10 Valabhi
11 Gfharaja
12 Salagfha
13 ViSala
14 Sama
6 Caruka
7 Nandika
8 NandivardhamSna
9 Snvatsa
{ Ayatah)
15 Brahmamaciijita
16 Bhuvana
17 Prabhava
18 SiMka-Veima
111 Kailasa — Round — (V|ttab)
19 Valaya
20 Dundubhi
21 Padma
22, Mahlpadmaka
23 Vardhani
Maijika — 0\al (Vfttaj'ata)
28 Gaja
29 Vrsablia
30 Ruk?an5yaka
24 Usni^aha
25 Sankha
26 KalaSa
27. S\' 3 -Vfk«a or kha^Tkja
31 Ilamsa
32 GaruunSn
33
240
VlSHUDHAltjiOTTAJrA
34.
BhDjana
36.
Pfthvidliara
35.
BhGdharA
TrUi^Uipa — Octangular
— ( AflSsra )
37,
Vajra
42.
Svastikakhadga
3».
CaWra
43.
Gada
39.
Si.isftla
44.
^rfkanffia
40.
VajrasvastiKa
45.
\'ijaya
41.
Citra
mAnasAra
Single storeyed buildings.
L Vaijayaniika
5.
5riJ.qni
2. Eho^a
6.
HastlpfJtba
3. Sri\i5lla
7.
Skandalara
4. Svaslibandba
8.
Kesara
Tno storeyed buildings
9, Ankara
13.
AnUka
10* Vjja>a
14,
Adbhuta
IL Sjddha
15.
S\aslika
J2. PJrsnika or Pau^tika
16.
Pu^kafa
Three storeyed buildings
17. Srikjnta
21.
KamaJanga
18. Asana
23.
Brahmakanta
19. Sukhaia) a
■ 23.
Merukanta
20 Kesara
24
Kailaia
Fout slOTc)cd buildings.
25 Visnukanta
29.
Ji^arakanta
26 Caturmukha
30.
Mancakanla
27 Sada^na
31.
Vedikapta
28. Rudrakanta
32.
Indrakjnta
Fire storeyed buildings
33 Airavata
37.
Yamakanta
34 Bhiitakanta
38.
Grhakanta
35 Visvakanta
39,
YajnaLlnta
36 MCrtikanta
40
Brahmakanta
Siv storeyed buildings
4l Padmalvjnta
43
J)otj(§)kanta
42 KJntSra
44
Saroruha
ArPENDlX
241
45.
Sundara
46.
Upakania
47.
Kamala
48.
Ratnakanta
49.
Vipulanka
Se;en storeyed buildings.
54.
Pun^arika
55.
Srikanta
56.
^rlbhoga
57.
Dharana
Eight storeyed buildings.
62.
Bhu-kanta
63.
Bhupakanta
64.
Svargakanta
65.
Mahakanta
Nine storeyed buildings.
70.
Saurakanta
71.
Raurava
72.
CaijiJita
73.
Bhujaija
Ten storeyed buildings.
77.
BhQkunta
78.
Candrakanta
79.
Bhavanakanta
Elcicn storejed buildings.
k3.
Sambukanla
R4.
liakanta
S5,
Cakrakanta
*r«cl»c store) cd buildings.
S9.
IMncala
9tX
Dfavid-'
91.
Madh>7ikiinln
92.
Kalingakanta
93.
Var:na { ? Virlia)
50. VipulakrUka
51. Svastikanta
52. Nad>a\arta
53. Ikjukanta
58. Pafijara
59. Asramagara
60 Harmyakanta
61. Himakaiiia
66. JanakJnta
67. Tapa(s)kania
68. Sat>3kanta
69. Doakania
74. Supratikanta
75. Visvak^nta
76. Vivra
80. Anlankjakama
81. Mcghaklnta
82. Ambujaklnia
86 Vamakanta
87. \.ijfakant.T
88 Akrak-lnta
94 Kcral.1
95 V.ini‘aV *jnn
96 M.igi(i’iak.lnU
97. Jjnik.ifiU
9^. Siii { f 6 )
garup.n turaVa
Vairjja — Square —- ( CaUTra^rab )
I. Mcru
. 2. Ma".j3ra
Rural a
NirJa-J
242
VISSUOIlARJtOTTABA
5
Vjmlna
8
Nandu ardhana
6
Dliadrakaha
9
^rlvatsa
7
Sarvatobhodra
Pujpakn — Rectangular —
(AyatalO
10
Valibhl
15
Ilrahmamandira
11
Griiar3ja
W
Ilhavana
12
£3IJgrha
17
Uilambha
13
Mandira
18
Sibika\eSma
M
VirnSna
Kaillsa — Round — (Yftiah )
19
Yala^a
24
UstjiU
20
Dundubhi
25
^ankha
21
Padma
26
Kafafa
22
MabUpadma
27
Cuvavfkja (Gfhavfkja)
23
Mukuli
Manika — M£»Uka — 0\at
— ( VttWyata^ )
28
Gaja
33
BhOmukha
29
Vrsabha
34
BhQdhara
30
Harfisa
35
Srijaya
31
Oaru^a,
36
Pfihividhara
32
Simha
Trjvijiapa — Octangular —
AstaSrah
37
VajTfl
42
khanga
38
CaKra
43
Gadl
39
Mujtika
44
Srlvfk^a
40
Vakra
45
Vijaya
41
Svastika
MATSYA PURANA—Ad 269
1
Meru
11
Gaja
2
Mandara
12
Kumbha
3
Kailasa
13
Saniudgaka
4
Vimanacchhanda
14
Padmaka
5
Nandn ardhana
15
Gafijda
6
Naadaca
16
Hamsa
7
Sarvatobhadra
17
Vartula
8
Valab Me chhand aka
18
Caturasra
9
Vna
19
Ajtffsra
10
Sirtiba
20
APPENDIX
243
BHAVISYA PURAIifA—Ad 130
1.
Meru
11.
Grharaja
2.
Mandara
12.
Vr§a
3.
Kailasa
13.
Hamsa
4.
Vimana
14
Ghala
5.
Nandana
15.
Sarvatobhadra
6.
Samudga
16.
Sirhha
7.
Padma
17.
Vrtta
8.
Ganida
18.
Catuskona
9.
Nandivardhana
19
Astasra
10.
Kunjara
20
§odasasra
B^lHATSAIvIHlTA-
—Ad 56
1.
Meru
11.
Ghala
2.
Mandara
12.
Samudga
3.
Kailasa
13.
Padma
4,
Vimanacchhanda
14.
Garuda
5. Nandivardhana
6. Nandana
7. Sarvatobhadra
8. Vr?a
9. Simha
10. Kunjara
15. Hoiiisa
16. Vflta
17. Catusko^ia
18 . Ajtasra
19. §0(Ja5dsra
20. Gfharaja.
■ins^tgsEirlSi^RT (®r. ;-?'s)
Art^
IS
S
8]lfl
c
n
8JIRI
'I'S
•\\
c.
«i«
» s,«,
9%m
X
C
S
V
9^ra^5I
s
<>•
n
6lRinini?Iiq
s
V
%'f
mVz
\
'JS
6
C
s
( -i^
1 I'*
s
< €
•s
%
\
^’=iin?r
%
c
\
c
1H
'’’^‘TtT
S
\
'J'*
V
3T3^
1
3?3^
V
I^J
ai%5PT7ci
S
3iq^
s
/ V>
911^?
l1\J
3I'7I>3
c
sisfe?:
•JS
Y
^
9T3^
c
V*
sniTT^
nv
«,
<
1M
1
3n^5t
4
c
9
8?IifF?I
Y
1o
Y
11
IH
amit^I
’I
S,«
3TlfX^
C
1^,3*
3JICT
\
W
'\
13, ^\
3n»TF
^
n
9n<n
tr
(U
3n?pJ
Y
(
3
«, 31, *3
5^
£
13
^rttJ
<
IS
SJtJJT.
551^
*5v
1v>
ivt
5'7^?I
3^i?r
IV
373!
IV
37313
'iv
37^3
377>J
3q>gCI3
^V5
331
3foiI^
3^3
•s
V
7i'7%33
c
8?t3T3
A>
sir'T^R
'iM
TfT?5
c
qrqTS
H
4
1
(
\ ^v>
7f!R3\
£
73r3
7?7
1v>
T573t ^
1>»
3^2IT.
c
^VJ
'll?!?
<i
Jllfll
%
<:,^, 1",
^SS
'\
c
S5
c
3H?
V
i
'ml
■f
*^H
'T?§'IRT
?q;
£
V
c
'=i3^Si
^
£
Y
%?
{;
>*
’I, ^
^
u
% ^. n^, ■''*
■sni^
\
\
£
^\
t:i^
^
t’i
<
"^s'^J^X
f \
{
X
fbi
n«
XJ, HX
<
X
s^qr.
cTI^Jn?
c
X
Ri^
\
1'-.
'W
f "
c
\\
\
'i'»
r?^?TF
u
\
\
^3TT5rf»
t
1
??I?T
V
Y
\»
5 0
XX
n
|IT?
'j'F
^If?
nH
TX
k
U
Y
C
Y
*•
tPTpqU
c
<^3?
^
£
'ITT
c
C
'I^
i
'jqnV
It
^r
\
u
•
5»irr
i
\\
PUT
^\
1*
rrq'TT'T
Y\
JT1T
t
Y
I^IT
\
M
PTT’JtT
1^
V
bthtt
51 rn
V
^f^r^cTT
i
1v»
iv
^TT^Tfq^rr^^STOj
1^
=TlftTl
1'»
!TI^
I'*
j 1\
1 V
•ri^TTHfa^IJra
f I'l
\ I'*
^ir^Tt
f 1-*
1 1'*
'Tl^Rni
c
Rrtt
1\
e.
Pr^?T
IV
Rr^^r
V
IV
f^ers
1\
1^
1%
%
%
Iv
R|6^
{;
pTT-^fl
T«
fjiin
RtKSiT
T'»
Sfl^I
ly
gn
gn?ir?i
I
\
VJ
* o ^
^^jurnr
<
'ffV
’THITr
7?f?J
h %
W
£
T^, 3T
\'*,'*\r '^%
Tftqror
\
\
*ift5T&Tr
IV
TlcTIf
1v
«7?f!
1o
'T537%
1\, IV
Tt5
\
•TT^eftqjfT
i \
H, 1.® I
■i^
1 gcfTf
IT, *1^ 3?pr
gffr?i
gt^
HfE]p?n
r, *4, s
>@5i;
?4.
3
^3
ic, 1%
X
V, 'll
T.-f
T^ T3
V
ic
M
11
1i
11
10
'J
10
£
1^
1*
h 1H
<
V
3 TfTt.
•»'>
'I'-.
>
3
si%gj^
T's
V
5%7f
Y
3
♦
33^
£
C
stum
n
'iv>
'iv*
S4
•if
STPTf
t
sqn
5*3^
•iv
v»
’i'»
^hr(
■J
Sfi^T
\ '*
1. -i’
3
C
n
ST
y
^o
-PiTJian
*5T
t,X
V
H
n
’fltfTT
rr
<
51^.
wIt
^Iq’
Y
c
C
^'r
■»
snai
c
To
fira’T
<ts>
•J
irnci
^ %
>T^35
vra?i^
vH
J
M
iTTiq^
t 3^5
«l'JI
nRT
\'<
»TIW
»TK?ft
3 •
c
c
c
H§lTra
V,
IV
H^tT
qfs^TI
nv
qRi
*>
1*
qtq^a^
^v>
V
nici
£
i
51^
t -
i<, n\
qCT<r*T
v,H
«
T
ffd
£
e
JHT
1*
iTtSVt
£
w
ftT
Y
H
:*';;'»iV
t
%ri
'j'*
\c
c
n
c
|tui^
c
V
^S
'
V
sjtnsjn
\
'W
\3
\
6
^w.tt
\
\
5n5
c.
^VS
1
I'i
c
5itO
\
<.
To
\i
513
^UB
€.
C
V.
511^
(
1 ^Vl
^■1
5n^
n
ll
f^
c
{
\
1^,
d
<|XJ
IV
?T?ft
£
^'i
'i'»
^■i
<^\»
?TnR^>'I
?TinTi5f5^
'i^
£
FHIfl
«
C
S
'lv>
V
{ T")
^li^crr
£
'lo
\
C
4a?R
\
\o
h
\
"ic
«>
*)
Itf
\
«5PT
%
V, ^£
T'J
\°
\i
’A
Y
fgs
fefe
g^
C
V
c
gqinf
c
gPtTS
\
’1'*
1
11, 1’
gi?T
X
1^
^?
u
1
1, 11
(3T.
31^.
•i*
vx
anfe^cf
X
v^
n
v^
3n>5^rqTi
11
VX
V^
3vj4tl^ v>
IV
vX
#
'j®
VX
;m»T^i
%
VX
V, ^
vv
^3m\
\
VX
1C, V
vS
M
VX
’Wlf'il
vH
9K?fr
VX
1
gsf
IV
v'^
u
VJ
1
vv
X®
1
W. V
vv
v^ 1
!Rq^
V
vv
r»
SEiqtqr
vv
1^
v^
t^TqiP^
vs
V
VY
5?[Tq
Jff*. 1
vv
V
vv
^
VH
«rm
vs
*ll«r7
IV
^<iqm
VX
\
YY
^jfjcpFt
q®
VX
1c
vx ;
a*
VX
a^. 1
575T
n
vS
’I
YV
jfsqni
c
vX
1, X
TTMT
*^. 1
v^
»rP5i
u
Y'-*
*TFrs
X
v^
V
V^ f
»ftTi:
»q. V
XV
^^■snn^ai
\$
vx !
X
%V 1
1
IX
vX
5
i
^♦JMl
VX
»^'t<nr
V
Y'* I
•rnf^i
1a
VX
c
t\ 1
qpqqianq!
1<
VX
irr^v
1^
Y'l ‘
npn^
1
»
1o
5^. ^
vv
\
Itf, ^
yy
V^
VS
\
V'A
Ic, V
yy
^:il ( ?r=n )
s
XV
^enaratn
V*
vv
SI >?1
4 :
XV
\
vv
?:ff5n^cT
yy
'il
Vh
yy
5jrfn
vy
J 5J?mq^
yy
«lv9
x\
5Il3l'Jf2r
IX
y?
Ti I
ir|c^H
X
yy
HtT
y'^
1 <|5?f3fT
^K
*3r. ^
vv
*fii7fir
y
VV
ni3
^*
vH
!
>^. \
xy
y\
ir^5n*T
IX
x\
u, y
yy
XV
Y
XV
!•»
v^
XV
^r^rni ( )
\
x'^
^\mh^
y?
5tl
19
V'l
vV
Ell
M. 1
xs
7in?m
1 e
y^
\
v^
XI
' ?Tn=*)f>"a
Vl
!ia
»i(FrflffTi
M
y\
X\
■?r^
*V
ic
rX
ii’?rfT
yy
Pt7
* 1 '!
n
ft^rn^^afe
M
»TIff
vv
VI ^
XV
xv
f-iai?
r
yV
*?i^r'tTi
vv
fjrniT
V
y^
w
Siqxn
^ \
XV
w
«II*T
YX
■V
xV
a^tzii.
H
v^
5IR^:
1
's'i
vX
^nfijT:
X
Y^
JjV:
«iy
If',
^X
\>
gsr
c
vv
\»
V?
^3ii}f5|q:
vX
gKi^
mf
Vlk’^
V
vv
ti
A?
-iH
xgwcria
d
r^
Y',
ii53r
d
^X
V
VY
v\
\
vv
«Tr3^
YY
1°
Y^
qJS^ST^lfW
YH
‘i'i
vX
?rq<nm
YY
Hnr^
n
YH
^?f
! W%RT
£
Y^
V
Y^
j ^rif^
YX
1^
awl'll
't^. X
YY
f^ijfT
YY
§goi:
1^
YX
'I*
Y'-,
Y^
\j
yH
YX
ftrg
Y^
YY
N^ojifni^
•iV
Y^
^X
'iS
Y?
\
YY
'K
YY
\
%Y
V
YV
vm-
x
YX
X
Y^
\
YH
VlT
W. Y
YY
^\
YX
V^li;
\
Y'^
M
YX
tfh
\
YH
ttftm'?!
'i
YX
\
YY
X
YY
\
V'
“
X
YX
^
tY
J«?CT
y
vx
Y
\'*
3n^rr,
SliRTf.
'»4.
y\
IX, cx
K.^
VC
SMf!
VX
\\
WJIcl'E
7o
3X
'\'i
37^Tr^
« «>
vX
srfa^fT
'^'t, V^
3nt?iftfT
’l^
VC, M
^S
XI
1C, XX
I* 4.
n
S, *, S'*. '»X
aj^RTlfw
X*
vv
Xc
3''
s^q\^fr
VI
n
3v. vx
V
awKfti;
Xn
Vtf
■9 »
rl 1
e?«i?T
31
IV, X», 11
Ro
v\
srfiJi
XX
n't.
8?Ji;eT
w
3nr?K
Xc
XV, av, ?S,
««j
3X
n
I’ll
arf^'T
Xv
IV, 11,
«I3J^
\«*
% 1’
1^, Mv ^1
V
XX
1, 1v
3i3Yn
srs^
XX
1, IV
9T7r^fT
^0
\\
srf^cT
Xo
X«
«i7Kr7
XT
U 0
at^rn
>
XX
He, ‘^^, %•'
l»
1. 3, 1, <,
W'Tfefc
I’', ve.
-u, <C
1*
31
1*
XI, \^,
»i^r
XX
1, C, XV
mm'K
n, VC
»f??TTCT
3X
«, 11 4.
\. ^x, \<
efvirqirr
33
vv
«ir4
\\, 'M
m (gyr)
33
1v, C3
\\
M
wu
31
«3
tfCI3
1, XV,
33
11«
XX, X*, '*V,
XV
X
U
XX, V\, V< 1
Mi^iJrnrSr
X-
XI
snifgcT
SflVJJJcT^
«nr^5
aii^n
^iJfi
^=«?n
5^^^T31ETI^
n
»?i%
STHiT.
'^c **.'»,
\\, 3^. V
1, \
X. *1%
\o ’^o
V
^O ’
W 'i'^. ^‘’
^c; ?'»
*}, '»^» 'i'’
\>e
\, '>^
^\>, VVJ, H®
x»
XS
’lo
l^f, X'^
^v>
X, X, vv*
XX,
^<»
xc
^x
u
XC
u
^x
x^
Vi
XI
X,
X
H.
X'^
XV*, U
XX
i, v>»
X'X
3Tifir
Xo
n
X“
?X, XX, x«
Xo
XX
XV
HX, H'*
35 #
X'^
V?, V**, VO
35X1R
X®
Xx
35H
x^
i, oX
3 £#^
Xv
v3. vX, ^X
ssifl^i
XX
X, X
Xir
X, XX, X®,
'XX, 'XX
gffirSfTi
XV
3 i, VI
gv^flTjff!
x^
XX, iX
3 ^iTR
XX
X®, vv, Vi
3 ?^
X'^
XX, \r, V.
•X
X, XI
x^
X^ XX
3 ^n
X*
vX
X®
Vi
XX
XX, io
3 ?q'q
XX
XX, X®
X'X
^i, '-.X
Xo
XX
33
XX, Vi
silTTt
XX
X q.
8 i*fc§f*J
XX
XX
®?tq
XX
>*s
q:^r
XX
>, XX
q:#S^
XX
x,xx
qi^
XX
X, X®, XX
tP»P 5
XX
XX
qqtx
XI
H uv
u
snqr,
Sftr
r
^rq-
^x, '*1,
l\
-X
y\t v'n, vsj
XS
X. XX
\X, SI
q}?I
X'^
h XX, X*
■=i»
W
V®, ‘\<j, SX
Sv
xc
XX
VI
1*
XV
■^0
% Vo, Yl,
!l«>
'XX
Vtf, M
X',
■Is -sX
U
xS
%m
x\
vs
XX
X'J
XX
xs
XX
IX •?.
^0
S, X, s, ’X
1-X
vv»,
wrff
XV
X^
X'^
X, 'S, XV
xw
V.£
\x
XS X
XV
V, 'XX, XV
Xo
X, «
Til^^
xs
xs
X% '^v
trf^a
0
xs
?,
xs
X, XX
x^
X,^ M '
x<
SV
?f:t?fT
x«
X\ i
x«
XV
?fiJ?r
XX
X, s
x\
SS, S'*, sv
^"tr
x»
IX
XX
iv q.
X-
V'*
XX
XX
XV
sx
X*
XX
x^
yx, \<\
UIRfJq
XX
S, SS
STi^fTl*
X', i*
JWVVG%’
7 a
x»
SE'T
X'X
s«, u
ni^q»r?j
X®
XX
551
X'^
X, XX, xs
»1X1
XX
^S
fPff.
\X
V
XX
«:5T
xs
^Pifn
XH
sx, sv, \s
qivT
XX
vX
n
X 4 .
rtr
XX
^v *J.
x\
X'X
xs
X® VX
*
x^
X, <1
XTSft^ET
X®
•X'*
31'ran.
n|
^x
'»x
V^
Y, XX, XX 1
■^1
X^. 1
’T^Kq;
^0
.
\>l
XY, XX, XC
V\
^X, '^'^*
X,
=^31^
'»X, v»i
YY, Yi
^It?q
vX, YX, yX,
^if)
^Y
'^X
XX, XX, XX
'^iqnci
Xv*
XX
yX
?.'A
XX, X<;
x^
xH 'i-
XX
^ov>
^noTa
VM
XX
'•.Y
x^
XX
XX
Xtf
^mk
XX
X'»
nf^
X'>
XX
£S5T
X*
yX
XH
xt, x<,x^
Tt-jr
X-
£
XX
\
ai«n.
3^^
XY
\c^ V.,
X-
«
!3Tf3^^
S 9
% ^
X,
X, -iX, XX
XX
C O
XX
w
X**
Xi
gs'^i
XM.
XX
XX
Xo, Y^
ggr^e^r
^'X
Xo, XH
XX
X'» »}.
XIH
XX
Xo
x«
XY
• •
x**
XX, X'>, XX
ma
XX
X* q.
tnajPT
X*
Yo
cTl'!®!
Xo
X
XX
X <.
XX
'*.4.
?I1H
XX
x^
XX
X, I'*, XX
<Y
x<
XX. yy
XX
X
XX
XX
t
xo
Y\
XX
Xo,
j ^ffTTl'?
X*
»y
XX
X 'j.
<rTT1t
XX
X’
XX
Y 'j.
>•
y*
frj
XX
V 4
Kit
iti
‘T-J:
•m
uni
uf.*}
tfrusui
in
'n
•TTg?!
Hfh
«7TI
*T’T
sT»»t
*I*T
niS3
PjjfefT
Pm«i
•rruj.
MT
1
M
f*i:r
! ft>fir<T'ir
n
Pt*JT7
i
H*. '
Pi hi
*,•
v\ 1
fn?»
W
»« 1
Pfi^Tr.
u
i. i f-^^T
n 1. I
%•
' 1 P»iu
, ^ fti*'r
1 PllU
*»
f fnTiTstYJiTfr
Yr
fWu
U
Y'l
25^
U
Y»
3n
^TTUr^TT
\\
'*1
9n
% Y
9/^
w n. ^Y.
^!r5?J
H-, hY
’tH
V’l, W.
1 ur*r
n
i
PYftrpT
n
^ i.
51*
ifk
H-
JiTna
n
11^ 1
ItT
’i- *
Y, S, 1.
n^iiYTr
^Y
Y^, Y^
HY, m
1
SJS1T
erurr, *.=1^
11
i*, YY
^ 11, >•
^Y
».s
W, Y*
«Y
1» «}.
’IH
\C
?•
11
n
11, Y^
v%
HY
X<, Y«
H, 11
n
1y
Y1, Vlf, Vv>
\-
YS
'll
lY
U
X, 111
u
VY
n
\Y
Xe, ^^,
Y1
U
u
1Y
I’l i.
u
IX
Ij 11, Xy,
11.
u
««?,
Ill
er^^n.
w?
s^tr??
x\
'JtS^JT
■^v
IR^fT
3 «
'ii^lTT
x>f
’^o
5*?n^
^v
'IRl^
XX
^•*
!
*aX, 'v^, '''*
aifcT
’\, -^v,
f^foT
% 'IX, '"»
nxc
'i. X
5^
5^ \
3^3^
X^
SX'^
v«»
^-, ^x,
tjpl
XI
XX
513^^
*j5?T5^
4»
XX
ifhlH^T
'tx
X,^
XX, X’^, XX
X% x^
x% xX
iftfli^TT
1*,
iftHtHl
1», ^''
SVT
Vi, ■'^X
:
yv
Jin
t
’*I’ 5 *rrcn
'’J*'J» 5 ;r<^r
Q •
" !
«n. i
'^* 4 ' 5 :nira
?.V
^^^ «'* i
X
sTf^ir.
XK
vx, vl^, VV»,
XX
XX
x^
9 »
X*
Xv*
x^
XX, Xv«, V.
XVI
X, «, '1, ^'x
XX
w-, vX
XX
X, VX
XX
4 . «:
XX
XV
X^. X'*
"i 9
'iX
X'l
'x^
X*^
A. V
X®
XX
X-
X
XX
x®x
X'x
vs
X®
X, X, S, '»,
xs
XX
X*, vX
XX
X, x'1
X'l
X, X,^*x
XX
XX
XX
XX
IX
A. 1 »
XX
'*x
XX
V
XX
XH
XX
X. V*, VI,
VX, vx
X'*.
V«», it
XX
1 C
3T«n
W
1-
\ \ «.
TffRtf^
n
^ A
R^S?!
TT
ST?J-p!5I
V,\>
■^o
M
T ^
JT^
?«>
\'»
’I
•*.
5».’*\
1=^,
irf^T
'TT
g^^nifefT
tim
^■3iSir»ao
'i%
rTraTT
^o
v^
RRift-
%w
It,
M,^*i
%'»
8j?r
V,
»II*i?Rrs?
«T
T’^, y«
4?t*l
>C
g^n
^>1
4i*t
q T«
U
\-x
Tv, T5,
SROI
g^Tsng
T, TY
mj.
■^O
^\, \^, t\
\
VV
\£
W
•«.6
'>li
K\
v^
■^H
H^> ^H,
^1
*T?^
^r
v^
"I To
q T^
qo?PS
W, '»T
X
1. S n
^^r^lct
^T.
ST
-sv
tT^
U
tj'nOi
q 1
’Tt?*?
q T
%H
R?
^1
TS, ¥Y, yy.
T^
yt, 'tt
x*\
TY
RlffJ
X'», y»
q T^
r^T
Ro
qT, IH
rp3j
Y'*
^V TV, •^, T^,
31^1.
!'i\^
'I'S,
\<(y
S, '4'9
\£, Vo, >i\
VS, •>fV,
.V, '\'i
h
h
\5Y
I'*
^*1
re, H'\
Knji
•i,
*1*, «^>
■tfc
V',
^0
VV*
^1 6
’.o
ftferr
V, V,
^■\-^
4.
•Ko
V
W
•K, vii, c®
•tfo, Xl 1
tc, ’'I
^■s
\X
V,
\%
^=',qts'4
>}. '^0
\x
11*
«J.
31^3TI.
u
«.'»
^V
•€\, v<:
if'j, >t\
^0
YV
'iX.
V\S
5??n;?:tJi
'J. XX
^o
XV, ^o
X,
XC
n
\\»
A. XX
^«»
^rg
q. S
EH^Poi
\\
SJIlft
XI
4. vvi, vtf
X=l
tf. «
XX
X’o
MtT5JT
{qc^fmn
X, V Xo
RJFT
XV
fqT^I
XX, XV, X^
n3?^
XX. '^x, '**
fe^I(
XV
fqpEqCT
’V
X^. XX> VX
; {3^5:
x^i
'*.X
XX. XX
1 ftcinsT ( )
x^
XI
nj'^’.l'i
XX, X*, x»
; n?«'^i
r, XX, 1.
1 nftM'i
X
^ XX
51*
f^lrsT
r^aHfr
f^?l7
r^ferT
f^ier
rq^o>JIj
ftroj
ni^^nf?T
WwB
iftc
9r«iT. wjEfT I
3 <- 4i<
XI ■«,
I
V
' 5^*,
XX ^«i %TT!
XI
^«* XV
^ - Yz ^'n^
\. Xa,
Vc^ X
YY, :i\»,
^OffT
Vl, VY, Y^ I
«•», '•X
Y^
E^KT
^n 1, ^ ' ^cr
XI, XX, XH
W W Y» ^Q
XX -£Y
Xv, -^,., ?Ipr
Tf^T»2^r
X, 1v», ^Pi
XT rt ^lE^rinj-r^
X^ 9. %•>
X^ 9. VK
Y sm'^f
*M xran
y\, ^T, MY xnrjir
\* XT, Y<
x<, YM, YS,
'•f I ftRr.
®f*^?T.
*^T
ih
X“
'X, X, S, <
XI
M,
Xh
T, *.,
XT
■XX, ^V
x**, VM
vx
X^
i ’il
M
= rS
X'*
XX
x^
XX
T1
XT
y4
^x
1, M
XT
XX
<:K
XX
5Y
XT
TX, Yv
X.
T4:,
x^
tJ. TT
XX
T«S
XX
Xo.
XX
4Y
XX
XT
1
x^
A. 1%
XX
uf
XX
T
^'T T, T»,
XX
XX
X'*
TV
srarf.
ft?
f
U
feiTF
n. •i^
XXX
fwinm;
\>
X,
3^
\\
3XK
X*>»
X,'>
X.
xs,
X'i
V, ^”» 5 X
X^
«i. XX
X
\»
XI
V
x**
X, X, V,
X, XX
MR
XX
X'*. »»
MI?R1
X, x<.
flT?5 (^;i )
XX
XV
Q??l
a£
”.'*
^ ■
%
X%M
*?R
‘M
X,
\», '*.<,
X*^
XX, X*. x^,
¥/, VX,
nqRI?;
♦ 1
X, X
X*
'1
»?5?
fTCTf^
w
j*, '♦*, '*'X
I’T
XX, XX
fl:al^
^^rvfJT
^tTi>T
?St!»T
niRsrr
<^-f:
fic' {rfi)
ffri't:
iJfStf
«;'<•!
.T't't
^1
3?«IT.
XX
X*
X'X
XX
x«
X, vv
XX
XXX
XX
XX
x»
X», M
XV
X'X, Xv», IX
X*.
x\, V5, Vi
XX
vX
XX
X, V
XX
¥», '^X
XX
»J ^3
X*
vx
X?
H X^ *<\>
*, * '* k ,
\c
ii
X, XX, XX
x»
XX, v*
XX
% X
X*-.
v<,v X
XH
'‘.Y,
XX
•J. Xy
X-
XY, x<, XX
x»
X
Xi
XX
'*.X
X*
^x
> •
><
'*.
Y
X'*.
X-, X'*.
X*
'•.X
x«
''.Y,
iX
X*a
x\
XX. H, XX
vv, Vtf, V
I*),
\\
11^
’i^j \y
W
q ^<3
'A^
^ %\
% ^
X* ^
> \ %.
-*\ 'I'l
1. %,
n
T ^
\,
'*'>, %<>
M«
\<t
\C
31S?IT.
3f4?iqr
^v
®P^^cJ?TT
'«f'^
'1
51^
n
Vo
v^
^0
3ivj^q
VI
Vo
1C
Vo
v®
VO
1«.
V'i
IV
VI
\>
•^\
Iv*
1^, ^'1
VT
1^
v\
% «s,'
^j '
5rr
v\
c^
^’ifjr;
vJi,
?stt
V*
1
VO
1.
I'*
V 11. 1^
Vi
X
^’•r
u
v\
^>l
u
■t\
i.
VO
X«
vX
1, V
5F.f5r
Xf
. X^
v®
X
fgtH
V®
X
fS5T
VO <1, y
. 1,
, 11
f^at ()
Xv>
c
mih
x*. 3«,
x\
, ’ll
vl
11
V®
c
ijirs'qTII^T
X^
VI
ntmr
vx
Xo
Vo
1
g»3^
VO
1
>x
XX.
XY
VI
V
VI
X
^fan
X^
V^
qrnf K»l ()
X'* 1,
1°.
IX
d
IX
pjqql3^<'C
X1>
Vvf
RIJT^’JI:
VI
<
vX
1<
vX
1
V*
10
*
vl
X’1
XS
1
v»
11
\c
99
Tift
VA
!l^
^rf)
^rS’Tr
^'X
QI-^TT
5(nffr
^?7I
99
r^mi
f^ri^STJT
gie
r^*^Rltr7
9i«Tr.
*
e‘tziT
>s&T
s
c’l
11
^iTI^
?.
cv
XX
'
X
1
S'*
u
V
T'l
X
1*
ol
>
%t.
V
3 fl ( ) »>«,
Ml
r
1
Y1
V
v?f
V
^fi
VJSJ
\
—
V?
^c
‘IT
'^X
f#
t
^v»
HI
3
V
S'*
C'C
1^
vv
y£
99
»1 >
C
<
^H
\\
SS
<11
=irf?
1H
ss
11
H
'»!
Yo
'>•;
\
^TC
r
'^X
11
7
'it
^ I
*t
Htf
=Trnq<ir
M.V
vtj
11
c^
■€% i
1
Sc
V !
VH
c**
vv f
H^>
5
S'*
1^ f
'^57
ss
1 f
% T
'*\»
^ j ^
[^FH^
v»i
v^»
fq^gvrmtnr
«r£«jr.
isJ^T
1
w>E
r,(\
Y *
^TiT
xto
h
j»
S'*
f«
c-t
£
It;
<’*.
U
r^T*!
\>u
«!
( tTi-^ )
V£
p^ur
<H
s?
H
»*»
c
^»v»
£
PP
\
^v
ft
•t'n
'n'S
»>¥
^IT
fes
£V
V
tt
t
'*?
IV
tj
<•*
qt:qi
2?gjii
'•X
u
'J\>
\
^TsmK ()
\^
sqqqiq
VSO
\
«*>
q'Si?
%
q^ifT
\
5^5^
S'*
*^3
'o’l
1
iV.
i )
C'\
JTttmflrrTi
u
njr
S<
«x
1
)
S4
Y
^Fq
S'*
qiqjJ
HV
5[rq (31^)
S'*
n
qrq^q
Vi
\
n
I
qi3
S<
1
'*1
snn?:
K'l
yJT ( 'TT^^riT )
S'i
sTig^
'»X
1
5^111 ( ^lyifsl )
4'-.
S’.
»*
4H
V*
s^
A
>}
V*
S'*
no
^nWi
'*^
r^?3»rr
S'*
no
sn^ft
c'n
s
sqTTTo;
YY
'»x
Vi
E2Jt*r
6'\
IJV
*^qtrr ( ^ )
uH
*t
S4
1
sj^qi.
Y
j ^R1
e
)
CH
'I'l
H
'I'l
1
^ =
\j\>
1
U«|
11
tfV
11
Rh"
H’l
c’-,
„ ()
YY
1Y
( qq )
11
ujq
«1
x°
^vs
1
j»
Hi
2
R’-?^
1
HTHT
w2
Y^
JJ
C_
'll
5jq; (5T3j^)
R’^^T
's'i
Ivs
S^
'o
H
v»^
'I
5m
'‘I
HI
\»1
^ (arq^cf)
£H
Q
4
^3(5ri^)
If-*
%
}J
Cl
'<
Y\9
r*
cH
fv^
£'\
^c
\
^ (?jt)
^o
cH
1c
*>
Yv*
>i
'»!
VJ
Y
cH
%o
Y
V£
Mtrq
\f\f
1
?n^3
q<iTqt4R
^Y
1
Vt;^
^o
J>
%o
V
—
ff
^15
<iy
11
VC
cv
IH
wr^
*A*
1
m^iwx
«1
n
Y 1 i
R]rw
CH
'j\>
^fRTJ
Y^ i
EH^ (jig)
\lo
V
u «
1
\»\>
£ i
5 ^:
U\>
V
3f'jn.
^TT
dS
V
t«*
1*
fll’fT
V
WrT( ’qrj )*-q
U
•IP*
nil
c
1?
miff
''.t.
X
C’IiTtt ( ery^frc)
C o
1
?rc
1
tt
n
cy,
?>T
U
u
»
(3T.
a^^I.
>^w>
3^l5^r.
\s
£\>
<£^
1->
c%
c%
To
^o
tf\»
C\
A
V
<i%
c
S
^HKft
<i%
\j
c%
£Z
t
6%
?o
%
ct
1«s
<%
£V>
iV»
c
cc
siiaf
■3^3
cc
%
dS
ce.
I’A
c%
3irrt<i'dt
C^
IV
^^f55
Cy»
c
c^
cc
\
<^k
Xf
cc
'io,
in^Tt
C\
TX
«
X^o
C'i
^>9
£fS
v^
^O
ce.
H\*
C^
C6
v^
IV
H.^^r
cc
cX
IV
V
c%
^5im(??7j'lj
tf£
tf£
c
%
f^^mhrT
ST^T
%
3f^r
>^T
TJ^l
*rrmq^
11?
Cf.
%»
1°?
<^\
I"!
c%
^Otf
■3c\
c^
11-
c%
^ov»
c%
111, 11?,
11V 111
1*»^
1??, nc
c%
cc
1?
1^1
c^
1?
^
c^
lv
tfM
To, 1«}
c^
1^
£U
11
C%
IV
c%
c
"W
C^
\3
^S, IV
c^
RV
c%
<i%
c%
cc
V
cc
'I
cc
1
4'v*
cc
\
C^a
V
cc
1o
<v»
cc
£ VJ
^^*IT5T
c^
c\
cc
Vw
*?)?
CS
VC
c%
1®^
C^
c\
cc
i-C
^ I %
r?K ( qrrm )
c\
arqfeq
3n^5t
3{rV7
c%
c%
C'i
c\
cf,
£S
i'»
3Mr.
3iwir.
31755
eriqis'
cv
1*
1U
?"5
'IV
3!75cr
c%
VI
£M
^f755
^S
v'^
*%
cS
\»S
£M
tf V
^ 0
^S
MY
3lf5t^
£\3
\0
*s
MY
CV
w
•' <!^
YY
31^7
£V
\%
<5^
3 ^ 57 ^
l^v
^«s
3f7^lf^7T
<:v
\c
£M
U
3{^I7I
*S
MS
*S
MS
3»^
*s
\'»
£M
*s
*s
*s
'^V
*s
5«>
vt’A
v»\»
Y'*.
%'^
VH
%
%?R
^»T
nchrr
>I?T
^\»
c%
c\t
^S
<^s
it
i\
'^l
'\%
S'*
Vi
^s
7 <
erE?rT*
arw.
»nn
feniH
VS
a»f
'*.1
^%fr
Hv
vv
fnf
'i%
\c
*1^
SS
^TT2^
Sv
S^
c%
m
q^'4rt
c%
\-
iTtlTift
a
\%
=srcB
c^
'^S
^v»
i%
vv
SK
VJ'^ .
5T^
^s
Ml 1
^rn
SH
i
ftXT
SV j
Hv* j
fi^
\ft
C "
^'* 1
gra?
\r
d%
I^S
3PT
<:«
^s?r5i
5ro5
1
£%
irpf
1 'rr^^T
?nH
<^'3
^5
'm
t%
!
vst
TOC
<1%
xs
n^^
i\
PRnRr
1
1%.
S’l
Tr^
£'*
fsf^
fijr^^
?TO1
3^
=.?
span
£i
V*
?V
RR’?
(f'*
5 ■»
eoTn.
^v*
i'*
i%
«^S
iS
d%
CS
<s
\
»i?q^
^s
’Ttn5T?I ( )
y^S
y'^*
y:S
CS
•JS
»I51%W
yfS
y^S
yJS
*T?l»l?T
yf'*
yfS
y^S
yi'*
*rRn:
^S
m?j
yJS
yf'*
3^
i'»
3 %
i'»
y'S
* 1 ^
*T?Sin
yfS
C'»
\so
n
%s
v«
^ o o
vs
^ o o
v'\
^v
y^V
'^v
M’\
T^®
=is
Tiv
\’>
YV
yJY
VH
sn^n.
cs
^y:
<:'»
y^s
Svs
yJV
yfvi
l\3
\<i
^T^TcIT^
6\S
<\'i
^t*T
i'S
<:vs
y^S
‘in
y^S
*in
y:S
y-'S
y^S
n
^S
^s:
n
y^S
V'^
^S
\s^
y^S
51^
y^S
^<;
y^S
?«,
yJS
'>S
y^v*
R'i
i'^
\c
feS
<:s
y;^
yJS
CS
•i=l®
^iTfar
y'S
ss
^S
S'*
<:S
/v>
\€
:i¥
jnsV
ni^n^r^
«mr
51^
ai«?I.
C\
-f'*
i'a
<\
i'i
i'a
C'f
<^5
<:S
c^
<S
iS
c\
<:«
<f«
<;'»
tT'*
?ruT3g
51 r^
fflftrc
v'^
51^
d'^ SPR
I
Mif I
5n^
1V» TPP
U
'*s I trr^
I ?n*?T
fnfs
IH
,2^ ^
_j.
trjti'Ji
\d 5ft
n
tf'l.
1U
Sv
V»
VI
<rv
^vi
•l?^
VH
^1
nd
%*>
\'\
n^
^•K
eT«lI.
All:
U
sifiT
•\o\
VS
•j-x
•JoV
«|a^
*loV
loV
«JoV»
'JV,^i
«Jo^
‘J'i^
n-s
s^
<lo^
CV
8?^
«io^
3)^
ToV
«io<i
'i
«Jo^
vv
«nv
1
1«^
815^
<J«V
3Kl
^o\
■iv
^qiTI
•loV
31^1^35
^o%
IV
aii^cU
oV
‘^**^
lo^
Y
SliqTtrq?T
%v
’iv
3n^^
\'\
3n*i4'’i
V"!
3TT?f
^oY
VI
31lfe?T
SV
VI
'^oY
^v.^i
^0%
3qit?{4^^
'^oY
V
%Y
VMV
3Tmt?
<|o^
ivv
aTTg'T
XV, vv
s\
c
3?ije’7i
*^ 0 V
VV
an^t^
nXV,'iX^
53?If
* 1 °^
551
5-^
<|oY
'SC
^fecTHT
<ioY
55 IH
5?
<)
%Y
'J’i
S^
•tf
•i^
<v
XH
5eTlH
^v»
t?fi
V*
^r™]-^nTnT7
'm
3^^f.
^^oT
%
q:n5
9
Tov
V*
j.
7l?5^
/
^«*
So
^5^fl
VK
*FTg
o ^
1^. *13
^tn
*j*e
li"
■ t.^ 1
^v 1
•
'i
^
‘('•H
f^g«T
3?e3
^&y
j
1 3^5
V
e.\
H
WRIK
3:^u?r
\%
cv
lov
2>
^i?i
5EI
tu
« *
1«v
n
^«►
■J«?
nvo
1*¥
Vli
• •
v«,^S
^v.
ic
a
p ^
’io^
1®, ^s^* 'JV
tfj?'
S5
V
1*^
«Jol^
t
loV
»
U
rfim
sTlireft
«>o^
^<»V
Ma
\
5^'jr
^ Q«
V
*F>^T
1
• "f 4 »
!pRr5
T»^
1
w^x
1-s
Stf
<i®
lD^
^JT
loH
*jtR'H:
Vo
1«v
^TTjr
H
?lP<T
1-^
1*>'^
iTrl
9 j I ■•
lo^
»
^f3%T
^-v
^Tn
^%v-, v\ V?
WJ^
Hv 1
loH
1^
s{^r.
J0tT5
Toy
^Olf
•iC
ipiRg
%>f
>fS
•\o-r(
VS
Vi
•i\
<Jo^
n^?
n
»i5ir
^®
’lift
<J 0^
%s
*Jo^
ii
%
S'^
•iR
^^^
Vi
\
«Jo^
»i1fl
'»o'^
X'S
v\ v^
so
n
s»s
%-i,
*^91^
sv
S^
., ^O, %^,\^,
^%‘i»'», 'i‘l“
TSV, S'J, S'*
ss
■i»^
'\'»
S-'J
IT'S
^fROnor
•iSo
S
•Jo»^
^s
ST
«iPV
X'S
'i'\
sv
\^, XS, vv
a^«3^I.
SI^IT
T«’S
VJVJ
Toy
u
sincTfii
ToV
To^
stnRifJTr
To^
ToV
3UTvfI«I
Toy
^S,
5If!I^
T«»S
Hy
Tov
'
T o £
To
y
ToS
Toy, TVS
To^
ys
5l^R3t
To^
s
x9
5t55I^qfiT
Toy
S'T
T»S
T
sft^
Toy
V. ^S
Toy
<:s
To'T
s
3^1551
SV
0T
A'»
cTfli#
Toy
HS
<TI3
sy
ys
So
TS
T»S
XV
ss
S
gs»T
T«H
TT
g?5r
ss
SS
ss
y
at^m
T-^
s<
T
ss
£6
f?T^
SX
fjjTTin
sy
SS,SX
4
^■iTOT
Miw
jn!
5f^?T
%T'Z5
S’T
smrT.
sm.
%c%
ST^^rff
\%
^0 0
low
5"tT
3«^
35
^v
n
IV
^ \
loV
wv
l«v
V^
lot
1'^
lo^
10^
\o »
loV
31
!
lo'l
51^
loS
l*v
’I’l
1“^
Toy
3»^
loH
VI
1*\»
«
1
3"t
1
^'5
1
lov
6, 1» *V
1
lofe
f ^
'^v
^%5
lev
><
loo
1
tJ^t^
loH
1 1
1®
3V
llv»
lo«^
IV
v^
frgry
3-V
11^
3"*\
^o
^v
YW
ST^
3*t
3^
le^
mV
Iv
Yu
3»S
Y
nt
1»H
v3
‘.S
1
nx^
JTsrrrr
11>\»
15
*TSTq^
3®t
■'»Si
“A
15
=Tni'Ff5
^V
V
FTin?
llw
tl
fTl^bsT
1-t
53
, »x
/
srqr.
’!^?i
«io'
\y»
'JoV
i"
*loV
V
y
'ioV
W
\v
fq?n=^
Yo
loX
<;x
q\amu
«^VS
go^flTtsi
1, eye
'Jo'J
^o'^
•iH
s^^s
37^1?
VS,
^oV
31^5
<JO^
XV v^
g^sm
^•i
nx
<io-t
*lo>
v^
<JcY
\$ 0
>« *
i^Rtr^
"^oV
S^. ex
X
gq^qisi
«|oV
<|oV
•'A
*»«<:
11
I*!
<50^
Y
Y£
11
g«j
» T
l^v
Sx
« \
39
S5!J«Ta
S^fTl
^ 0 £
n»Y
’Tl^nni
‘IlV
0^
I'-S
•io^
^«X
«la^
1»V
\x
^s
YY, Y^
IXV 1XV “iXv
’’4 ^
\>
a^Si
SX
V 1“, 11* IV,
1^
X
’IV vv*
loY
V ’^'», ^X^
'
«lo^
1
XVV-
101
1
'll?!
«io'^
vS
>f^
X'*
smsT
11'^
11 s
1*X
1
1
1<, ^ 0 , 1«S,
«•>
1^\», \^c, 1V1,
'i^'X
lv<
CRTv?
loV
1•^.
c
W
t\
. 1i
v»
^o\
Toy
5Tl0*n^
siia^
s%
Rr^
r«5y
«'t5I
5t5r
^oV
«\i
a?jf
\r
^‘>
»TIT
»iyT^
^I.?RISE
1«Y
^•r
3ii»y
»Tr?f^
\6
\s
V* '
10%
3^»T
ffSTjriT
\o '
B
w
^ AC
■
. sitn'
1o
^O
n, ^s, %»
I
^ V»
U
VJ
1
*13
x%, 1^1*
JTRnvsr:
**3
Vo
%%
jnfSjfS
‘^l
*Ti'^'^<i
f«7
^1
ft3=T
IIO’1,1H
1“%
*ft5T
3??!?;
VX
nw
^fV, 1W
% ;
IJ3
1“%
111 1
111 i
in
€ I f
irr«t>g-fT
tn<R
>itw.
%S
1^
1“%
'1C
%\
11^
%v
Vo
1«%
n
1-v
1*^
Sw
1®
<, 1“, 1^
^v
1>
10%
M> M
c\
9 1
loC
w
1o«
1
<1
11
1ol
*1?
1o^
1o^
1^
lo'^
%«>
IX
1*1
1%
1%
1%
I'l
*.%
m
\«
11
1*^
Y1
1%
lOY
<V, C'\
1%
\'^
%*
IX
\v
VI
l*V
X'»
!•%
\*
^m\.
loS
lo^
^o\
’ioy
*11%
1“^
<ioV
loV
•i-X
> tn^
0 0
«r-
lo-tf
’ii^
^\'V
ToC
’iitjr
loS
3^
^'‘X
VfT^m
ir?[
liRi
Tl*I
iif^i
^’5
\tr
ib^
XX
^3:
%yi
c
1VV
^r
\ XX, XX'i
£0
‘i^'i
aqoi
'^c
c5¥H''I
X*.
XX^
If
X
X
V
, X, S, «
\x, ^'^
gf®15l
V®
g^iTI?I
XX'\
V
XX-
X'X
x<
\x
X-'X,
qgflj
X
qg^i
'X-
qgr^^I
xX
qql
n*
qf^
«*<
x-\
%x
C
\o
c
<5 o¥
\%
qo'^
«!«.¥
\c
qov
x-x
^oC
<Jo VP
x-\
^q,
c
XX
q»l
\£, VV,
qv
qoY
q^^
x-'x.
q®
XX
qv
%\
q,%v»
XX
iY
qos
iX
q
X'X
Xoo
q
q®^
vq. 'qq
«v
vq
qov
V\
X'f
\'»
x-x
q-^
qxx
x-x
'qq
X*-
q
X^X
U
X'*
n
ejofr
sjr?q
Efr?rR¥n^
<s
«irgri
s*
SoS
^ig
Sv
Toy
^ oo
^0-0
%
ft o
^n'T?;
V^
SS
SY
^ 15*1
SV
^“Y
loY
VS
SY
%S
1©Y
f^T
^0 4
I'-Y
VS
f%fTI?7
v-s
Vr
(^^13
VS
f^VTil!
SY
V^
ftqjii
^s
vv
fqi^
1
1
\, I^Y, SYI,
fqfe
1 SH
^sft
I.YH
V
^?>T^
SI
ifefT
u
1 ?
IS, ’\%, 'i%
?qjT
vs
YS
T's nvx
* t
^5If
A ^
S 1
q^T
'*' 1
^qs7?i
(*
e
£u
U 1
«qcft<n?r
'»S
*qr?i
V*
s
\r
nr?r
ar-Jn.
loY
T"?
n?
nv
'ily
'i«'^
^S
^O o
I-'-
low
\r
■^e-V
^o
'l-^
VS
\>r
lev
n*V
V,
’i
■J
ve
^S
*»Y
v«
V9
1*S
IS
YO
VS
\J«
YS
%S
^oV
<io«^
&
1
•JoV
<to^
%
1«>H
VY
^®
mdim
%o'){
s®
n<-^
^06
'i'>^
l\VJ
s®
\
si
\
V, Yl
SV
\»
m't
s®
I'S
c
1®^
«1
^?51
s®
<1, «}«, S’l,
S'^, SVJ, X®
SI
ss
S'^
11,1^,1*>j’^'=*
SX
’\«\
yS
1®^
Yo
s^
1^
•JoV
'»X
s^
s^
1SX
ss
YS, VX
cS
IS
s^
1®^
%
t
aMr.
loY
S®
\o
ijftm
1®^
SI
m'^
S5
qog^
loY
s®
11, S'*
SY
■tf O
1®^
1Y, 1^, \%. 1^'S
ss
'I
1°^
1S1
Id's
SY
r
loY
loY
lo
loY
1®
loS
1M
s^
^Y
11VJ
sx
XY
^ 0 o
1
1«S
'liJ
1®^
SS
1®^
11Y
loY
\'»
loY
SS
SY
Y
1®^
^s
1®Y
xs
1®^
1^1
s^
1®1
f^S’JSTT
s\
IS
1®^
ss
SY
W, Y1
s^
ss
3f«T!.
^cTT
^0%
SH
“5' i
V
S)i
'i'l'i
•Je^
/ '
»^v»
5f^l
c\
* •
\
^’'■, V, %o
V
•i-\
va
^jt:?
•fe4
1M i
'^H i
i
VI \
SoV
|o 1
?Q*TflT
<\
' t
n«, X*
1 i
^^f
V, i
^IfSiJr
v|
1 1
1®
X'^
■vsv
'fo'A
1°S
5*r
^0«1
11
\3C
?T
\>t
XI
loX
vX
"Jov
VI
fft
^^»
IcV
vX
1«v
m
^^
X
1°^
gtrmqr
1*v
s.
tA^r
lc
?*T
^6
1«
5tJT
1£
noi
1
^v
V*
XS
1*^
'X
:jj.
cffi?
®i IJJJPf
55}
??^’i
>t
-''^l'^S??Tr ?Tgf
5nT 2:nj
,'■/
fn'
, ^1 .1?!i3if
5K^
r^" ''*’^J3?T
3i^T ^
r
sjwr J^g; j
■a EpqW
1
M'^
«
Ti"
> a^^il?m'=5}qq-ci
“io^ XI
u\s
= 0(i
ai^I^I'^^I-niTI^T^
n
n^
3ing?r 5?:} ai?it g
X^ y
t»^\3
\^\
aii^anr 5
X^ s^
C^
’^,2
^4^113}} §
x^ VSS
CS
^o ^
^\i
x® xy
?.V
am q?
10
\\
=^*10
n 1
-^o
S'^
}>
10
Vo
y
tf
Xi ^
'*'-
vs
1
1
\^3
?o <i
ty
\'^ 1
^\\S
‘J'5
•««
h
¥X 'IV
■Ri ¥V3
<IV
ff
^‘l 1
^^'5
rv
'J’V
ff
^X '}
I?'? I
3?? q? floir?
x^ ^
\\ V%
3fcT f!m ^^'^3
3c V
'iU
<S¥
in
^o>s W
^ 6V»
\5 '^<t
£o ,
aTH^qiTTPlJT^irq
So '^V
X'l'^
V1\J
^>f %%
\?. \
^mi'^ Uf^'^ ^
;^y
¥^
m ^
X®^
!>,
a
}[a?rgtt siTrt no ¥
'i61f
ifK
VO
t\o
<)V
%1
'}'!<£
'^'1^
%'\%
<!<;■»
3^f^^l3■^^ ^ 'rWHt \
2 rf?T( JT'17 yo
sri^g- Hf-rTT p^t;} 5>.
Sj^'ts'^l ^
5pi! lTn:}c}|^ V 5i
niJnnii P’c^iT ^'»
stntjfis J
¥
•io
H
1-
’i’v
<C\
cJtZ[T
?
«T«ir.
T.
rRr?T
■t
^’t
3?Pi'iilcr qp'TrqJ
HM
X’
£'3
^471^
^p
VS
H'^Y
3{[^tq H%nr ??
XY
XX
srafee^
»7T ^:t
xx**.
Sf:? OTcq’^TrgC^I ^
c\s
x\
3ii^53- rr7i-q}|
XY
XXY
3^41 %gr?2r =Fg»5Tr
t X
•? ^
%
T-x
XXo
XXX
3I«I?lf qri.
\So
i
«o<;
i-frqr
Vv»
ix
xsx
3T5T WT qn*?? «g
£\S
'i\
Kt^
n^qr
C^
XX
SHX
sini^^Ki^q^qim
\o
qc
arqcai'qsK^riqr
H\»
Yl
££
3i^q q'^I XSJT^lq
XX
XX
\i
?aqm
\3
■iH
Siq^iq ^ ^^vsi
»x
x«
»««x
^q
<«
'i
q;iq^
YX
VY
3iqt qi\flt^qi3ST
a^qqq g
uX
X- ft
3 rrqr
^0
\C
S3q^q?5qj^'q
XX
XV
XXc
Y
H«i>
clRqq qqiHiq
Y-
x°
XyX
3^fq^^ !5Tj!nqjft
'i^
HY
x^
X5X
3{fqi; ~
\J
aj^q r^^qr rm
X
XM
■3^
ei^q fqf^qr W ^1
X
XXX
Hqfffrq:
u
VC
3iqq fq^qr q<5
'ilw
X
XXY
24^g^n?3 %
'^l
M
1<ii
ai^q eiqq^ RfSfqr
\o
XX
xxs
r?q^ ^q
H
3iq’.j4
x^s
siqig^tTiiq^ra
81-? >q:nq ^q
XH
\i\
'*X
\c
YT
qa*-^
■3X
x^
aiqtf^ttrsjt
n
St qftiT qqr q;?
'»^
V p ^
ajkqq S^I2 q"
\\
l^vs
3- qrtir q|t qqqr
i-\
c
»}«T»^qi ^ q#t
•3^
^^v»
si q'?ft: ‘.fc^i^
X
h
3^qr^ R3^ c5f^
1®v
Ho
etstq^-q F^qq
XXY
srqi^i ^qn qiq
sfqSi+ir q qq^qt
n%
a^ffqf^qamn ^
’I'A
ic
^c
3,nT*rq^?j-
XY
\»
5]qr«
dTsqjp? qifq qit^ifq
v»X
splint ^rgnn
^Y'»
«^*qs{^^7i^3'qr q
X-*
\r
sr^n^TK'n qq
’\-&
XV-
atf^cq^Hrrr qq^qr
«
^ ^Ij
atJ?i(^q«rPtqq
%oC
Xyo
3, q???qq7q 3
Hc
ai^rq? q«q^ Ij
U
'3'iS
3t qqjqf^ qqiqr
'^X
sjqiPjqt *L3qr g
^Y
1
ar^qi ^qqiqrfTi
XXY
3?*?I,
3?w
'Y
U
aifq" Jiwi 5 gqrs^J]’
»v
3T^%7 '^IT
'i'J
>I
T>H
>>
^r:^r
ToH
^ o
Y
fy
^?cr
?»
<•
^O
55
1®V.
5»
rf^l
1“^
»5
^m^it
1
^yy
9*
9*
■j»M
9f
■i-^
tf
'i»^
'ilo
ff
^jn
lo^
9t
5»
«Jo^^
ft
srar?i
■**
"JOS '
%^\y
n
•J-?
1^1
tt
"l^S
tf
5Enk
»p
TeH
94
sr?ir?t
nic
9f
■i<>i m
99
?iff
ft
B^IPI
it\»
si^n.
?.
3j'5rf M'S j
<j ov
X'i’X
3?r?i#i':3riR 3qr
SfRIfzJlxqf
X
Xox v
X'l
eiRT?:nt?j^ %q «}o^
X’X
wqr^n^^igj
1*v loH
x^x
1 ■> 5
sn^fRcanw jprr
■ioV '>V5
\^\
9ii7(d5i<^qiR ?T?n frarn:
1 snqi^rqtqtijirf^Rift
■iov v;
XI"
1
'if
snqi^Pr^Fq^ni^
^o«
3If71fftT37lft ^*IT
anqrii^qiTq^R ^qqi
'i‘>^
X'*
XM
HoV
Xo-i
3Tn??f3it?rPi fi?n ^Rr
3?i5T|f^qiJ?rq^t?r^4
^°\
■tfS
XM
lo* v»1
XX"
51
loX ^
X-’
3TTTtlf^qii% qw
*i»\
^•o &
TT'trqJ^
Xo ^ iv
HI
3TRrfrqc4
-iix
XX’l
3Tr7T5rq*7im tT«5T «IRI?n
l»H
\u
X\
^OO
SHTJ^Rt^ qR
'?6H V£
x^»
snm^RT^lft rfqi Pj^n^r^
i >1 »»
X^V
V®
V
X’X
siRl^fzitinrrr a>Jf
srqifqrrq?
-J.V <J
X*v
•*<
X*x
aiT7r%?TRf T3R
i'-v 'Jic
XX’f
an^rcRniS; ?t’7i ^tirr
3{r7i^criR niT<
Xf XX
1XH
1“^
'\%
^v.
trPpfl^^j
1«f XX
Xvi
3nr5S75r4«qT(i4f
XS X
'*A
x^ ^
Fi^if ?TC?T
sn^ni =Ttfli
XX V
1»X
^ »
snq 3r r q?Tn*5
lo^ IXtf
XXV
3n5I5f^7I^ rRI f^’n
CH X?
\\'*>
1-^
^\»
^X X'*
^«x
3nEn?rq^7ift cRi
snqtTi ^ r^j-gi
XH
XH
X-1
effTqitjRq^r
3
:t«|*
sTi^rr^^TiSi ayi 7r?k
anPeJ-q irrfn %
1*^
X^
X-X
enfy^ siwqrRtft
\1
?nTT5fV7i^ wt
a^ C?i f^R
vX
V)
x«x
5ii^3''X ?rr
XX
^\»ii
ftwSWiHT
8RRr.
1
?.
U
•in
^^3^1 f^rWT <¥ VM
^H-
tF%
x\ ^
n
i;^iWs5i nim^
<\> V®
n%
tlJTi^^iFvR^ 5 5 v4
\<^
^ ?77l fRRSlIJT i\
*.MX
qmer ^feriTK
I'*
^0
v^
% !(IRqfr ^fTI
tfa ^;^ ^r?r?S^ig^: ^ ^
U
»U
VV>
IV
n'l
tjf ?TrtRi SR
^s n«
K'i
p& !TO??n
V^
^1
lr?r(: ¥W
Hs «»
<1
XT^ ni5tvTqra Rr
•J?
Uc
WJ R?I '»r?r
’iv M^
SM
i?& ^ 33 m
WH
r^ JRRRSli'
M Si
SM
qs'rt ?[?<ng.
>fX
IMS
tl'i s?f?:Rl5r
^S 1M
n
tj&^r gyjirft
v««
M*
gr Sr?!^ 5RWt^
n
'4V
^'ir tR^rar
\x
\
^M\
t^Rr 3?r Rstjsj
•in
TjaRT
x^
X^
M"
t^n gig f(Rr
XX
‘in
3 Rt?
\%
V
^*»
^Tfi ^r<t 25 ?r 3
XX
1^*
Xo '
‘
v^
t^iTT 3fJi{^|
^vX
tJTRPPF^g^
£
IJ5JR==(T R^IRin
^sy
tJ^r^FT g RSRR
IV
1
n
j^rc RcmiR
i-s m
XXX
^MM
„ ^ RRI^
10 S
nt
^3¥RT
I’^'i
„
1»V £t
X11
tjjfR^a^criRi
IVa
[
„ JT^nr^
1®¥ ^M
XIX
iR' 3 :
1^¥
ry ^ Tf^rtiyq
1«S »M
\n
TCRgfi^T RRT
1"S ^
\n
tprg^l^ g??
IX
X^
•J^M
Toy
X-M
tJR^R g^?RT
X
Vi
„ ^rr JT^IRTR
leS I’iy
XXX
iJRrrHICR SPI
X^
„
x»S '>X
IM
»Tf f ^
\r
Xs
„ RI^oilftR^r
x®S IS
x^x
\c
x^x
^«r?«T RRHEt?:
X
1M
»p( t R )r'‘Ir ^3?ffr
*) 0 «
1^1
! iv*
x\
Rf ^^r^?R7R
^X
X^£
"St^r^PiRlffr^
£V 1
^7lR=Rl^
X^
^f?d RlfTR:
ev
n^i
^V>
sr^RratR
M xs
Rftftr
iv
v<:
RRTffPR>^
^V1
ajuTRi
n
1 *y %4
X*'*
g ?l5f: ^01
2i: fwt:
V-J^ g 5RT =sri^
itr^ ^stt
sriil r 5
^T
^ Itr
(? ;i|)
_ sa
5kt vnm
^T«n t g
^''?t *in}»t
5WR
?ftRT
<i^t4
'^^5=iiSm ^ifj^
31^1. ?.
'JX
X“
x«
XX
x*
XXX
i'J
^Y
’Kt\
^X3T|?5
XX
M’]
XX-s
*ioV
n«io
xn
^R^^^q^^^Tm 031
XX
Xi
XXX
X’.'J
(?m;)??3TXX
Xo
XXX
Vi'S
1
xn
^PXP-Tri ^qift«if
XX
XX'»
\j^
^iX
3:X»ir 3l^3i*r
XX
«x
cx
XX
^x
x»x
't£
X's
XX'*
tnX^^JTR.
Xo
x^^
loTf
5\j
X
x^x
x^x
shXojtti
3^1 Jn|54
«x
XX
X’x
3X
X«x
XX^r
SX
5^Xvj
JF35JI^
^x
XX
XXX
'I'S
H'A
1^1
^ *s
XX
X
X«i^
c’i
\JV»
XX^
’IT
X
'M j
5F^«IWX3^
XY
XXX
•n
•a
1 (^3V*3m
Y*^
’X^
^.VS
X^
^c
v><s/t
X
^o^
X^
w
jj^izr: qwTi^
'^X
X
X'»'x
«r^jn %33raro
vjX
XX
x*X
x^
\\^
XX
\J
x^x
nv
*T?lXI3r
YX
XY^
X
CT
<1
«
XX'*.
1W
«
£'*.
XX \
X
^ o o
xn
Xft'»
^x
^xx
XXy
c
^n *T?Tn^
^X
XXX
XX
s
aj^J
XX
xp.
XX
\»
M
\j 4
»<x
XX
T1X
A fl
Slm
XX
X'»<
XX
11^
x<‘’
y»
->•
xx«
<>4
^f;^^^it-i tnifr
1*.
x^c.
'»X
XX
XX
x«
1
'jX
’.•X
1
^^^i *
IX* .
ifi^ritiq Ptr»
XI
Yi
X*
>
••i:
X*Y
XU
TrX
V
««rr.
C}
\*>
<Til
V.
T??f !i?n; ^rqts^
M
T?7^i*lrftcn*n5
n
??Tr3 fft^l
^5Tt*T
lev
’I'A
VY
IC
Jt
1
‘)o'^
^W TIR?? ?rp^
loS
tl5T
l-^
'?'&
qT^feii:: HJTRBT
<5 ov
«6I^l^^^l: spra?:
!7Tb?ft'T^!^
\'»
^jff vrS'SJItStiT
^nf 5?^=^
yo
«Fl5?f! QS^II^
w\»
\%
w:iJ?:n«nffir«^if^
•\o\
^tam*Tiift**nr‘T
?*
2.
\^
*FR5f^?isiqr%: ^3?^
^Y ?.i
<JX\}
'rivi?T
1Y
u
c
•9>J
Tj^:
\
^I3: s^sri) f^JTqrer:
Y
ie*
\
*rg=i!
^ »’
51
\
\o»
^r#T=!4!ig^
V'.
SY
■i
Tr^ ^qi:
1
1*1
v5<:
*srgRrRi«T5r
M 11
IV
5T TT fgnJTl^g
11< 1
H
\^%
«FfcT^ qt ?tFf
u ^
1U
5\>
fiiWcSr’TfjljO
1«?
ft-t^5|(»?)t?%r«? ^Y
1Y^
n
1
C
?rs; ^
«-
Y^ Yo
lYl
n^
IS
S<J
1 »
irrq:
Hy S
^V5'J
V\
1 ftsr^iqjjT: f%3Wi:
£ ^Y
11
n
\C Y
%<»
1 Ri SF^ irgE^or
1 1
1
^3
m a?ij
IH
^1frr3[i sT^ ^r
\C'\
11 1
V'.
'\
&31T
%S lie
\iX
rrgji^ s^r
\S 11Y
\eY
Y
5pRra«?
1° X
jc?*T fi*n tjozT
yl
n®
%
*»\\
5^ W^
VO 11
1Y^
g!^ a«TT Hi'JR
ei V
I'll
jftcTrfT^ar sfe
’l*
S^J
VSVJ
jt<« wgietsii:
cx 11 .
^’1.1
1Y
f*nt: q^'g??. ^i^j
«1 Y
ii'*
HY
fjff ^ feat 9:rqf
%e \
11?
\’>
^ Rr^raf q-
IV n
1S«
5YHi«Hf ftpf fgfg;
^Y H
Hw
®imr.
S-
*■1
v’l
JFimt
X*X
s
XXm
am
c
gm^ qfRT^
•a
XX
?ai in
x\
3='^RlflTf>1
M
Xm
VC
^OTPrT3?r^oi:
'AV
X
^MM
n5r?i?^qn^
•i?
■^'»
5?r!^T'R^^
Xo
HI
HX
n{ ? *rr
Ti
CC
X
XYC
^ -a O
<iS
XH
XXX
nxiBit
aR
X>^
^O
XXH
’T^gsr iim^i^iai
^ sn^csr cT^fi^
SX
X
xsx
»Ki^n rai?a)s«
1o^
1o
rX 7[? 3<J qiTR ^ [:?fj n
Xf
XS
»nj s4 ^ ^TRii
V
qirRf RrfR^
SY
XXM
itR
Y
mat f^tiRiar
^'A
H
Xmc
^s^t^RRTTn:
CM
•«M
^r(t gsrKtrr
X
xxs
R5«?( 1 ^) ?T^
Xi
Me
Jiiam ^Kt^S3r^
T*
H
XX
RRRW ftlRf *ir^
'^6
■jcl
rnrlq; 5m«r^r ^
XI
YY
X«<i
^C
sx
Uf^R'd^ 52J7
X''
X'*
Cc
qq- a)?i R^TdsST
\»
r
I'A
sTinR: IT q^^sRr
«x
M
XXc
TT^^iR a*n
V v»
mEFlRfl^Pt
x*x
vH
1“^
«5ni hxmi s?t^
M«i
1
XHm
leC
Rini ?^RT'R1?
%\
X
X^H
r|{ ?!&)ar
51
ic
'lo'^
5T?Riq75J5l^I^
1-X
VH
x»x
•jc
fc
n??s* RT sr^s?
CM
XX
XyH
\c
S
«5ITTlcTTa*I'^ ^
*)«:
X
YY
RPRR ^*TRTa5"|:
Rr
SX
XXX
\>M
‘
a?T
X^
H
XXM
S'*
a^fWR! ^FnTf
XM
Xm'A
*iraRt
CM
•=Rgg^ =Rg5Tg
Hm
XXM
mq^Tf ^73Rn7
^o%
\£
\X£
S'lniiR
Ml
X*
»rf^‘ g arer
s-
\
IcX
1«S
H
XXX
^fX
TtfM
^¥R<33«'n?:
MM
x*<
X
%
X
C'A
•*\
xx^
gcqv! 5 qjqi'i
%0
IX
1
R?r4l|
’i'‘S
Y
XXX
skflS
cv
1*
X
X-v
1 s
c
'^3«Tf;ilsf^^Rq:
■a*
XH
YC
u
9n3n.
3^^n.
'1.
%
X
X®
^ •f5'X -
tfH
. XX^
XX
3Rl =5
'X
XtX
XT
XH
x*-*
3rj>n
%%
X®
XvX
(? ^fej^)
3RT '4ST 5 «^53Tr
u
XI
XX-
VH
Xo'*
5Tmr;
X®x
«
ixx
tF0rfi;ft5 *Ki
s
\x
ra^Eq’arna: «El4:
«x
X
xx'x
^T£^qai?T5i
^x
5i?sxpnfa nx^f^T
n
X
x%
0^ 51 ^
Hv
V
Xvu
*-x
XX
XU
IXtf
XV®
^lana =jr
XX
X
Xv
^rainaSfn Ht^
X^
‘tv»
XXVJ
X®
\5
XX
^ 5E^T
\c
XX
XX'^
«iRixraT3
XX
XXV
Xv'x
§ ^3^r
x^.
Xwv
x.«
X
x^x
\o\
Xtf
XX'*
XX
VX
l^sf IFf^ »Tt
w
x%
'*X
<■«
X'x
XVV
W
XC
'*X
3^
\C
X*
sx
xX
XHX
5X
w
yx
fTcT:
x^x
yx
%
XXX'
smat
tc
XX
XX'»
sft^ VJXl?7l fJIT(^
XX®
X<v
crgaffl
^*’*
XbV I
^r^sTi:
yX
V*
x-x
^5^3?qi ^<n
XH
XX
X*c i
x-s
X
>xv
yjn'^iKiS^^trsrcifii: xx
<:
XH
XX
XXX
XXX
5an??RnX >?< uw
XX
u
XUX
StST^Hjn Tl^
vx
sTXRrrf^ff
•xX
V
x^x
srtt^i
vv
X
XV
3tj!=!jiit«?tT^3:
y^/x
Xo
XXo
gvii^Ktsy’TT^ ^
'»■»
X
X'X
XoV
iX
^xx
•artn tiioi
XX
v>»
X®*
1 aqVxiHRlSlV^ft
x«\
vx
^x-
XX
X'V
XXX
mJ7Rr?f^?rrS}
XoX
X^
5 XX
vX
XX
XU
XX
XV
sx
5T?qfn5t^^ 5 bt
xx
XtfX
xnjf ?;%X 3in?TW«ftn
£\
v>«/X
x\
XXX
x*X
X'**
XXV
X'x
X*
XX
•spTHVJflW «S«^
c\
X'
XXm
|t5!n ^?}xi Tiarx,
XI
X'X
x-\
^JT !^»n rrflv^
x-x
XvX
Xtv
l«rr ST#)T& ^t!jT
XS
*(X
5r fe’5T4
<•*
X*'
XU
Banr: fitt'U:
x»
XX
xxs
sr^.
^75
?.
ST^, ■’(S'Ti
?-
%
V
4557
C*1
3'»
n
1“^
5tqr ^r fiiTiar
SS
H
IC^
=J?1s}l^aitTg?r?q
n
^ e j
5T7r 5^^r
SS
I''
US
C?'^(? ?R3%)
5Tqf ^err g 5 ^ 237 ;
SS
n
n*
35|Enri^
V'^
Xov
3!»ig5r^ oJITT:
l-'S
£
EjT^rqt^^ n?j
^
5r3iIE3jTra':
31
31SH
srs^iTHifq ?rq1w
1?
9.
07 ?r
Sv
V
^wy
3r??i?r«f^^^g
*\
^S?
\Vo
3ngn?i «r
\\
37
HV
qW^cT^fcT atw
1«
anif!?? cTX^Rf
0
IS
lU
^R'r’TRT^ 37721/^^
I’ll:
^wi 3 ?TgJir %jrT
n
ly*
5ff?5j3i?^cr: nqf:
^0
*1
1??
t5HrflRr?Plt^?ftr
1<:
510
5rr55qr7mrnr^':ir
iS
i^vf
5ns]»rrri?^fi^^:
iv
^YY
JMf
Stf
R»^fe[3r^orf g^
X£
?“
S31
3^ *ic^r
C^
VV^
S'*
05
§i^JT cT?r:
^o
JFisjfT
w?
s
n«.
'Stum
Y£
IS'* j
5fr^ a^?^r
n®
^CY
53fn^s^7 ^rgarii
loy
\>
50 V
' 7 ^ 537 ;
'*?
Vff
Xo\
5reqr3?qf 3«n
n
•»’<:
l-'l
s
?1S'
st^?T«rnat(? g) ffcTi
G'm =57 7?n^?7TPf fif?T: 11
e
^'A
U
;
q? vriir
HS
w
?y\
sisr^sSfT
cc
'AS
V
1o^
siJitri ‘^5«ff|:
vv
s
‘Wc
'^6 lx
^O
X'io
^3T'T?lS?JfTia> ^
VJo
s
1»S
lov
«?
111
^tir fl't'i
V\>
1<»<£
I-'a
Y1
w
1*-Y
1^1
swrrqrf%!?rSr
5i?H
55i5T??nT^ ^
1^
IS?
?rrfi5q
IV
HH
t!gi
?fi:^ srqariivfta
^'43
cS
y«/R
??
X^^
l¥»
X?>f
fTt^ (7^Tr ^ crar
^*A
?*
SA
5r?T3^ifliI seSs^IT
•i*
^^rr ^qfSTTf Ti^nt
?1
!^'A
VS
gta
1’^
^rx
n^
l7f 5rqt??t ^fqr
x%
IOC
srq ^ f^5t4
cyj
S(¥S
^qi: sTieais THTon:
So
^’aS
e™.
artg.
t
u
1
5n;fif| 45pf
3«
Ic-H I
3i4r ^ 4 t
u
^ « > 1
5T4f
U
•i*
5T4I >5fFr 3
M
n»'
v*\
^OY
1"^
£
tpdrTtf^ nd
1
41
4
^1M
EJWa'TfTITI«
3i34mrf4 snrfw
n
%
e? =if ^ jT»i ^
Hv
y
T\»w
*-x
X'yX
q^iTTT:
^V*
5na»H sr
4 *
\
V
af’fif
TV*
FJX4i=Tf
%•>
n
sr
i<;
3r4T4RiFg^
IV
qpir g ^g^r ft^r
\\
‘i\
l^r
Ti4f;
X'*
ToH
Tc
M'*
5r{H4faprai^4r
41
«rt ci^
f,\
3iTf?l»rn5rFl^^;
4W
^yy
s<
'^X
fSt^ferw^f
^<£
V
54^i JiTWf
n
fu!f ir
«?
^’TF^zr FTcTj
\q
5fi4^^ 43541
VJ’I
s
m'
srn^
T^v»
ijaism
•vS
' \£r'
sm^sPF FFg^ft!
Toy
M
^oV
4^54:
^X
yo -
^•X
5f55jT2?^^ am
T’C
74?flr4Tf^5iwn5i
1®'\
£
x^\■
5I^lT«J^<fl( ? ^) ff^I
4ifi^»^^T^<Fr4r€ini; *»*}
4
n
m
I '}i mir
\»
TvjI
5!3RWFi
5^*
<:<:
t 4?THif^i^f 4a54r
V
TMl
IfY
S
T^tf
Tm3JRfaiJ?543:
'3£f^
TO
^T*
5f?w}s^Tm?Tl ^
Mo
\
^‘1
Toy
4?
^11
jT^of
\^
V%3
T o (j
^4lc^=Tl4t4I?fiF'4J^
■io^
\^*
anisrtC
w
irwr4i^im4ri^
So^
^'»
SRFcW^FTtTT «T
’IX
TV
5pjT?5^?^
5na gi?5t 3i4rTiir<ftFi
5iP|^stq<^r
<s
^c(\
U
:tTT
^v«
Uv
^ ^ am
5nrc5^iflg
C\
^T'*
tm ^TfSTf
T«1
^nr rfta c^»t»^^
\^c
5fq ^ ^514 ^T
C^
^4i: sa^ar; 414141 :
3T«^fT. =^4
’\'i
^0
Vi
‘^S
^VS'J
n«
«i»
VI
^ I^RRiT
y
I’V
%2n
^v^
V^
u
1'Jfi
fl^nir JT^T
>f%
'5*5^
?t5r%4 ffl^q-
%’\'\
5^Hr
3
g4^'\sTcrQ^^%
n
n
cTsf^f^anis^g
n
gf^& |;cWT
u
Vo
a<J-*i(
n
\\
ftar
u
■i-i^
fras? gr^a^qmi
^V»
*^V
g^:
V
’lie
aa^a? ?sa
V
aa: ^ am ?ir^i
•JoY
XlV
aa: am
1\s
aa:
aa: i(^:3:
Hzu
aa: ara^^
Vo
V
1v1
aa: ga aal
K'1’1
a^ R^a:
<v
YA
^Oo
aa)
%
I’vV
ad snilan^lV-
?.o
\
vw
ad fjd^
Hv
ad ^tdamr^mi
ad (? aa) a® 5 aaiPiya^*
v<
M
^ f.
gi^k
■w
’IV
'S'l
HoS
a?^aidi^ad
e^
V9
’I’l’i
ac^j^da ^Ta
’le'l
aamiai: aa
v^
1V<5
aaj3 a[5rai’:di%
n
’IM'A
a^r 3fTa- aw
^V
V
1XV
aa cmaifa^ aa
‘I
1\»
11
aa^ 5 j4
< V
=1
HSS
aa adar ^sar
vH
'I
1S1
aa ac^Paaiaua
v^
1‘iv
aa aa af^ d'^
‘IS
aa m('‘ai)f^f^aa i'*
‘I
aa aia%^35
v'^
\»
aa i%» a
d'O
So
aa\d
n\
^ o
aai^5?i^ra1
H
1U
aaRnar %a
’1'*
e'l
aar aa a a^sa
vv
^0
1'1%
aai a dafqad
1H
\f
u
aar a fa’aaara
SV
^SS
aai a ^a:?t 3 ^
VI
«
iw
aar aiai^Rra
RH
vv
Wl
aar ^si^a arag.
*v
'A’l
S‘\
aarfa (^) a?a
\
S
s
aat
Xa
1'^
1o^
aaT=iira^ aia
11
'*S
aar f^aaa aa
<1
'1
1*
aai^a Rada
V?
u
1’'.»
aara^a ^am
el
V
IIS
aaraaiftagd
eS
aaiftjaa aa
1H
Sa
OTi nraar’n^:
v’l
Ivc
aa Rar aar gi
•S
X'*
5^ 1
9{^L
j
loY
HX
|otf
cfsTfi^vri ?7!rn^
^
^«Y
[ci^r] ^^[<r]x^rx^ «
X
IX
citn !^?R
c
X»
ti?rr
%o4
11
|Y*
fi*Tr ^n?iOTi
\o
Hvi
*1^
1
Xo^i
?T<TT fq^-irr
’ICS
3 T^ssn
IX
V
?T«T ^
X'i's
«
111
?r«n 5^51?
XXX
a^x^ro^Hii^
^®V
11X
11V
ir*ngRt^
IK
XV
^T^rfr'lrgr^
Y^
x^
1XX
f^gj^Tf S^TT
\\
XeX
IX
IttX
^>£
I'll
[? g] t ^f*T £ X
XX
x\x
Htf
\
1«1
X^XfTl^=X #(? M
1
XV
V
XIX
a^irra: w^ s^gra
M
XY
XXI
IK
^»
XV
?r?nr3 sj^Tc^jt
XX
xxi
I-#
1XX
<1
x<
XXI
a? C ? )
\c
XV
1IX
1VO
?tx»Tmi3!iirc^a
1
IX
X
a?^Tr&
11
IX
M
1^
XXX
^rtinioil
'iv»
11
!«
?r?»in^ i^\ ?^r«
1\i
X
I*
% a^^FTift
X
X|o
IX
1*
II
^ftai5n^f
u
XwX
1#
trfiTig^x^ 3
IS
XI
Xi»
ct^iH^awra
^
1^
11
tTXqR*?!
1
X
X
fW
\'f
XXX
?rxq
x«
IX
11
11
Xe>
?%9rcr:
xs
V
1<JX
\
1^
XI
<T^
YY
IX
1XX
H«:
Itfl
V\*
y
x®^
%\3
X£»
?rx:5T Hil qfa
CY
X
XX®
g ni
XXX
ax^i^txx'T ftfe
1“C
Xo
^YO
fT3’3^.
11
V
X'l
aX’rr^ir^cft «>
X|
X
IJX
1 V
V-a
\oC
a?5r *)^^!fU^?sg'
XX
Y1
Vftf
X
1\'i
u
X®
fOT^ *n5i^
v^
'•I
1XX
aw sr>ataa?f g
XI
a^Hmg^aa*?
V
1
4i
(TW^xigai^
c»
n
^Vlf
xS
«
1X1
ai^isaian ^F^T
yH
X
fiJit n^tiif^
n^
IX
I'lC
cH’ij ^ifSr
XX
3iW.
\.
8TRIT.
, ^15
?•
1*
U
11 s
<:v
V
\\’>
j^q3H[r?3i^q
<5^
«:q
i^^qaiqar T^
^Y
U
<f¥
\^®
fa«?f?cT gq^ltR
n
YV
’i«
?f}4q3^^iR!
n
SI
3Tqiftc( ? %)mq[
=q c%
Y1
sxx
<i'a
vjH
gqqq
'i'l'j
xs^
5uq5
Toy
x®s
^irsq? ^y
T,
qn-j
%^q ^ q^5la
H<»
1^1
i
^
^\S
tiqi
ssx
<rr?4 qq
<:«
XyS
^qf ^ qq^ijqr ^
11Y
cn^ q^q^^q^iq:
'av
9
»
1'a'J
aqr 3 ’J^qtqa
^1
s
(Tif^j Hqlf^ qnqlf^
a
X'ii
liq’r 3
Ytf
11
I^VI
m^q5?jqqr?[ifq
\\
^YO
^ S^rta qj^sqr
q'»
Y^
c\
atvqr Hsq^qt
YvJ
1^'^
aqracq^qq^a:
1U
SYS
^i^q 3 qqr
*.'*
TiY
■S- _» rs r»
?r?T l^lSSito^Tl
cq
11
SX1
ai55qijTRT<?q^?l:
'atf
ctqi ?pp??ia fe4
Y
*^1
^fjqiqrSTq^qiP)
1®S
n
j^qf ^qHt^qq
lovj
1«
XXv,
H
\CC
^ qy^i<5r{q
t(£
IX
1^v9
?n^P^qetlq
w
^Y
Y^
'JS
1SS
cn^q § qq?tTr
<*a
^qqjg 5TH ?nssq:
C
1<S
fff^q qrq^?q^
<:«
SSY
eii^q qm«i
qoY
1>3
x*s
WY
«J1
qqtwiq
U'*
SCS
fn^q qfqs^I^
cc
<q5t
I*'*
^'^
XXy
mtj q^T
'*\
a*
jqft ^q
Y^
x-<
tTiqiqfq^qSTTf
u
\\v
nft ffq Fmqn
^ox
Y<
X'’«
CTiflrgqft
rtft ffqiqti
lOV
x«
x»x
n\ vifq
Ya
jqft «qtt aqq}
^•v
Xa«
w
\<^
[w] «nnq
fa^ sioj q qqqpfi
\
nti? (^rqn;)«
«
•
IS
a « ^
\x
\
?n7: ir}ni^
U
IS
in
^aw:
c'a
w*^
5»»acq ^q5«q
IS
IXS
y<
jrqinntrt
}
X
\
?.
bj^I.
2.
ec
V IX
1*X
\3
XX' x*
t1
%wis^ fi€l ?%
\c
lo
1M
xw IX
S
ItfX
C't XX
XVi
^^Tsrafif jfrn^ar nlfr
87=^1 ?TF?nW«II ^ =^
n X
XX
n
IXo
ICqt^yr^^f^^crq
\o XI
1*X
'^6*\<
54t;
H Xtf
IX
>P
\C\
'C
5i^r^ (^fPr:
XX 1®®
x<x
tP
^i'»
5R:?t !i^
XX V
x«x
99
jTX^ irrFff^^ ^
XX Xl
XvX
99
^Xe
5V^ q ?t«TT
XX X
XXI
f9
rsRpft *11^-^
y
1“^
n^o
n\
XV XH
SH
ft
1«S
1X1
5H‘m5r<nT^
CW VI
Xv5
%i(T(?gr)^ (?vft)
StH*TFltC^rf:plf ( ?-HRtiTf)
TiscTi %irr
*JX
Vi
ce. \
XvX
\-^i Tnn
X
x^«
XX*
1*^
'XXX.
XXX
X
XVX
^5T f^^cn:
c «
vv
^^'^
<x 11
XXI
1*^
w
XXC
5it*Jaf^:
1 «v
XXX
«
X1S
0[R)^^^
«X X
XX*
?q=q
^>'4
X
•^Oi
XX <x
^x
X* n
Vi
'irw JwliT =:r
X5
«:X
f|855 ?rrc?r
XX XX
1X<
M “^r
He
IHe
fedfe 8iqfn^q?rr
X IX
V
■??& ^ H5Rr>i
Yo
X'*
xvx
*T^^iTT
xs oi
■XO
■^3
XX
XX
qqstiq^
XX X®
x^x
^^q^qsnsr
ci
q-omsi^r
XX XV
x^s
’XV«
fi[^5s^X27 XTft;
XX 1»X
XiX
Vii^i^sPrtJTifii
1«>
'I^
XXX
HH V
1«*
3^* ^
4\
X
XHX
ftXTtn ^^^JTIfS:
XV 11
^\
\
f3^^?r?5?q
t\ vX
XXX
?sitx
XX
xox
Xv
\'\
x>n ^>itTfi ^iF7i
X
X*
t(>7T!TlfI?nf»Jng|[
1«x. XX
X**
ernn.
H
\Hv
>]c\
Xl
^ o o
X
X«x
X
X'sH
6^ ^ jfrf^^fr ?ffji
XXw
^ 51 S^r 3
VVi
XXH
V»\
XX
H»X
i?g^H5rjr
I"
H«
q^q q:?Rqqi2*q
«J«JV»
XHH
\X
X-
1XX
\>\
¥X
^•X
%
y
X»
mq^q^EITT^gioji
X
XX
^'a
XX
?i«ri enit
■i
XX
v?^qmi5f5fnilPt
lo'A
HX
X^*>
qqg «r^5lir^
YX
^•v
qq??T
UVJ
X
jjq ^ ?T?5I:
^1
V
<icv
qq'f^jrgH^
XHX
qji*?=S
«lo<,
xx«*
XI
XY
x***
fqwJiqrmgPwrft
loV
XXX
HX'>
vftdc^TRf ^15.
Xo
XX
v^
^ ^ti #^4
^Y
^x<f
1«Y
\x
XoH
XV
XX
HI
V
x«x
X«
XX
nf^rn^f
X'*
Xo»
wTsim^n^Pi^^
IV
XXw
qri
^¥
v«
^v»«
’t’Tlt q^t^«n
XV
Hi
I.
HH
x®
’^r^if^5i^
%\
•JcY
XV
XXH
05: ^’sr:
! i
HX
XX
g^ j| ^wj4»r
X
x^x
oi^Kic: XJTr^
\»
o
XH
^ f.«^ ^ ^1 S^ v\»
X
XXv
JT M^oi ^ ^q
X
XXX
5T>rt 5i:^^fl5t^
VH
X’t
XHX
55
X
XH
^X
JT rftstH mA
H
c
X
•T
iX
X'J
HHH
XX
XV
X®
HX
Xy
Xi
*T^ ^fX ^ «i;as5
Hv
Hv
XV
sim n
HH
W
^X
5T 3 WI5^
vx
\i
x?^
?T?9cftXH
XX
Hy
HU
x»X
\c
X®X
s}?7; ^ftaqifJpqt
X
®.x
HX
iX
X
HHX
irfX^q^Sf fTffl Hlj:
Vi
£
XU
•T'^q £nf?nS
XV
^y
’.?-£
XX
V
HX
q g^ ^ ^
cc
X^
X^
X^
\€,
pRsiHraoil wrqf
'>^
X
HOTHTSRjnjlft
X®H
Vi
XXX
t9
X*^
X^
XX®
*n *ETqj
Me.j\
x^
XXX
q< rrrq
\\
XX
xy<i
\c
'r>t
XV
qqF^qpmfq^J
C\
XH
HX<
&tT5i *2 t
\\
HX
XyX
eivn.
5.
•3?W,
?•
\
S
£
1C
g 'fPmr
n
ttiwsst»?{)gi^f
1'
£
lU
Jir^Eny^qt
^o
HYxJ
?»
RVJ
le^
5ini%qtcnJi5^;
<JeY
Pljftfl ^ ci^?
1e
S»
lev
^1
*
1 f>i5faa ^
'^'*
yl
sfRir&fe^ ^
tBrg
lo^^
PtR553*'l
HX
1^
■J»X
n
le^
siTni^r sRm*!} ^J
Y*
'f'K
IM
'TRim^sPpn^
SI
ftql?K1^5n35<
n
1^
C^
1
V?
1^S
nisii^ ^ g w:
^e
W
;
f% ?5^
^oi
’\i
^Yo
v\
\\
IV^
1"C
fTl?35j!pI
\s
lv,f
VI
1V<^
Plw w^lf 1
l'^
n
ivv
1^
w
sT|5Tr^^?r«3^
<^\
Prw sfann
V
^
£
?^\*V
\
l.Y
n
^o\>
s^
U”
f5if?n«j%m
Hv>'*
%
Pi5i?t?^3Mf g
\’>
lo^
VR
Ivv*
nt?t*7i^f^f*T
lo^
iiUTiTItnRr^or
P(xwg<*f Sfle^
n
>)oy
*Tf
1H
£
IV
n
‘5V>
1^
Ri^r^vg^: Ti^f
*i\>
\i
Thsis aii# ^
^OY
1^ -
=TRI*l'l
<i<iY
^ O'*
'T*Jr =^S'
i»
Sv
1
^ i
fiTqf-:Tn^r?wir
lev
Y
«io^
sTI^ra'tJT gf^sTT
'i’S
stUPT^
d
\
iw
Rif^sr (?
qifiqjT g !F^
v^
\
VI
U
1
l^C
sftssftjjjmEiaV '
l^y
r%
jfi?^eT5?fcifrg:
Yo
1<
1'#'
^J?>7g«El^l5RPT
9|R[.
i.
3mr.
1.
XX
XXV
’igi55HRflf ^IffT
Xo
HX
HX
Ho
X
xvx
qgrvrai cTcHl^ffl
X\>
X®
X'*
^H
X
xv^x
H
XX
XX
ifl^PTHrH iFI^f
X
X<:H
vx
Vv
X'M
^3t?qa[J7I
M
X
X^X
XV
X
«H
<j i
xx«.
iTfri^vqi g e^nvqf
XV
Hv
»x
X
xxx
XH
^a
V'»
XH
HX
vsX
'Tsrif raifft
vx
V
Xvv
X
vv
<T33 «Bfq5tTTR
\}i^
V
X^V
^iqr
XXv
XVX
’751^1 [ITXJT ^A
CX
X
XXH
S^wi
'TTPRWT
X\>
XX
XXX
XX
'X^ i
*7?rT?a^oil4^
vx
X
XVtf
v
X
c
»Rix5rr«g3tTt
cH
XV
XXV,
%cn^qTg^5(igT(^
-sH
XV
XXX
4H
'»X
XXC
f3f^4
H
XV
XX
q?i7';!F?Txx«i?g
vx
X
x^v
6H
H'»
XX'*
X
XVX
grT^c'ltf^ Ift!^
X^
XV
XXH
HX
H
X'»x
?i»Tr
XV
X'*
XXV
q?T
XV
yo
XVX
^Tjgcqil^a
XV
X
XXV
q^i B3?i^ qnq
Vx
y
’icc
?Tl5IWBqi=ETJt^
H
H
X
qsimO n^sxcT:
XX
XX
XXX
gB g
X
yw
VRlftjJf5t ^
XV
vH
v>x
?{% JT;
XV
Xi'
XXV
q?ir^s? »??iXT3r
vx
VX
XHX
XV
Xv>
XXH
XV
H
XXV
=^11^7
XV
XX
XXV
qrg?i ^-r
CM
X<
XvH
'*X
x<
XoX
qx^stgTX'qjg.
XX
X
x®y
CX
i
XXH
qxxq^t^nfiigdV
CV XXX
xyx
'»\
X
XXX
^v
V
XVV
^n
MX.
X
XVX
qt«7 3Rx^qi
V\»
XVv
'TJTRg ;frB?i^^?n:
^x
x»
XH'*
sxxqig^firxt?}
y\»
XX
XVo
VX
XX
XXc
qitqq^ q’q
X-
qici tRa sa
Xo
X
XX
qciqxw^igT
X*H
qu f^tJF^u?f«i
XX
XX
X<
q<iinx firxm
v>
X*
SfKl sivi
XV
XXX
X<H
qftsRR^rr
XXH
<»«
%
vs
HI
qrgjmrR^^ 5fjf
51^:
-CM
't\
qw c^
\f»
?i>Tr =?T?t
s%
C^
^xq
V^
\s
IHI
qj»|prT3jff5>R>
c^
xs
^xx
'jqtrm TJ-qi v^fi
1H"
X'*
sxx
’i\
qr^intT ^
\S
1XS
qrgfntrftRr ir^q^
n
\o
%\^
^C
V?
SV
VlX
WX
\<-
^V
SV
Rr?n ?n<r?tnjf qr^gr
1vi
vv
V*
qr^RTOigol iTif^
£\J
TC
^vv
q**
IS
c^
qfsrgr^ir g^s:
\o
’iw
f^^qiqf g qfq%Fq
V\
\-*
1VC
\<’
K"]
1XV
f^=qr qiqqi!
V^
1^1
1VU
qra^:
c
«s
<Va
qi^nrtji^:
X"
SH
vx
qmi??
-J?
1"
ifttj% t?oT§ iTfqr
S*>
U
qjg fll^^pjpr g
IV
ISC
<ftq^qqfcflq:
\3^/\
q
qi^ *ifta?S Tm
<|V»
IV
XH
IVtf
qRifts^: VI?
v*T
I'd
ISC
gqqqlq^^'^
iq
S
’I'*
qi^
s
ICS 1
jqqer
XI
51VJ^
qR^?gnr ^if^
s
S'*
gq: qxtqfl5i5l
Sv
1*
\ovl
gt qg
1>
'a
\\
qi^
’ll
HS
g^iq/Jr (? qq
s's
X'»
a»
IHV
git qtqi
^'1
1H
• ^c
qiqT'fl %5t
\’>
1C
■^H'l ’
g^qqqqrgw
x**
qq
tnfSii^vqrat
^v
VVJ
1
5FIH a»fiTiqi
3v»
1X1
qii| *Ta fTTT qq4
V
HV
gf^qi qif^Hir??
H\»
’ll
cX
1 qrs;nj(3r(?«yi) =q
1 CVJ
’i'»
ger^q n^i qqq:
1"
S®*
'»1
1
giqisfff: sqiqsqj
1«
va
qi'larai^qf: ^r
%»v
ijytvf sia^^lfq
c
Vvi
qr»5iiRr?ql:
\'€
1<
qiJ'lqimq^^cRq ^iqf £%
'Ifyq^ qwrqiq!
^v
XI
S^c
v>'1
T’F gq g
V\
%1
qi’JqtSKqttdw
g^sfswqiqi^
\c
^Sc
JFI^
a
=q ^ 5l"#r
«J^tlR JTqi ^
qr
’j^^qii5nftge:
^T %r qqf^Bf
W^Tq’KT: WBi:
^TS^
ifirorir^qr^
fqJsqi^Tf
B^rRTsft^T
BW'sg?! ^rqPsqR^
ufr^ q?^qi5%
sqslife; BHvTFtT:
sm'Tq
siqiftd aqi
jwrfi;#! Sit
gw ^
3i?^ft?nr^qiy:
sis^rr ’BHi
i??!^; s( n ?Tcq )
sqt^;«f«I.
9i'*rr,
?.
^«'
X
\\x
Vi
XY
X^i'*
Ml
X'^vs
Vo
qy
XV5^
c\
^‘xX
^V
C O
^X'x
XXX
Hvx
1'i
XX
v^
vv
XH®
V
X^
X.
'Ki'O
H®
S®
XX
Vi
V
XX
li
X
XXX
i
XXX
X
vv
^®
'xX
'XX
1®
1«
^X
X*^
XX
^V
XX
XX
\'t
X'x
XX
^V
X'x
XX
XV
vs*
X'x
\JO
^1
iX
^x
*inv
^<i
XX
XX
vH
X'*
BFBFq
ir(q;T^ wg^^qijsn
^r f|3i^g
g
srs^ ^q^Fzjrqi^
5niqrnq555(ft^^
BTSTIBc^q
9f »»
BiMr
qig*T?^q% qn^
srqfi*FTi ^ l^fxSvfi
5T^*r qri^ *r4^
qwq%g& ^f%
sRT^nw^iti^S
S)f^I5T^%I?5
jT^r 'F^sqr
5?firgr fqfe.
jqqaqgqiq ^
acq^qiHq'3^
jitqlFnf^
sr^^sftqq: w4f
3cg<15^W
!j^q Tqfs q<iJq
«i^r.
3.
v^
vsv
XM
i'x
VX
-JX
X®X
xx^
^x
X
XX®
x®
'»X
ivs
XX
XV^
tvs
X
x^x
iX
*Ai
XX'A
VR
x%
x^x
Vo
XX
xvx
w^
X
x^^
vsx
^ o o
'*\
^x
XM
is
XX'>
xvx
’.V
x<
XX
vX
xc
XXX
X%
^'x
xx^
VX
XXX
'XX
XV
Xv*X
X'*
Xvs
x«
Sv
X“
XXv
VX
X
x\v
^o
xvs
Vi
HX
V®
VSi
^x
XV
XXX
•^x
X®
XXX
\v
'xX
XV
XX
XX
XX
IX
^X
’I
XXX
^i
Mv»
X
Xo
'*«/X X
Xo^
?
er’pr
?
c
A
A«
IIIPI^ W*W|i5iri
iei
H
AVA
n
AW
mPTAt Ai^osrmi
< A
1 «»H
AAH
AA
AW
aiFi^ rl^aiPK^
cA
lA®
AVo
a»ji^
AH
IS
A’c
^A
lA-J
^vo
a‘Ti 5^=571 atffii
'iH
A^A
a‘tni«rpAPi(?^) aihpav^
AV
AH
a>Tr ^
A«:
n
AAV
53 TOAtmi Ai3ir
«H
51
AAy
3qrnS=T?3 h?>k
gfs?^ ^pnRsin
AH
^££
AH
AYo
5«5^ ^71
HA
«A
’Cl
ani'i g? 5 HF?
A''
le
AA'*
S”^ 5F 3 fRl^
AA
1A
11A
vf
A^H
5& 50 3 «n)35r
AA
V<s
IIA
a^W'iri^iira^gi.
IH
V
AA
wpfemp a m afesr \\
£
^££
%
1
Av
'FWTf5 ^?^ ^IJ?
%\
A
lev
H^^nr PI fli^i
HH
^A
AH
VA
A>w
afiRJI PTJIT cT f^E^:
<5H
A®
^HA
PAATIOnl
A
A®
«j«
lA
AC
neq^^iitjr a|?^TtT
\\
V
11*
nr (* 'T^ err) -Jn ^
HI
AV
n
\»o
lie
£•>
AAH
iiFT ^ pgn:
u
AHH
aRaaimgat pp
HI
VA
1 ?«
1A
Ac
ai^ii *F^5pr
AA
£\*
1 «I 3
AV
AHA
AS
AH
c?
AA
A1H
aip[?^K’JT 5 ”^
1
A
11A
Ato
mpr^i Plitr^r
i\i
V
AvA
c|P«i? ’^■ 3 ?? ?niti.
\s
111
A<v
niPi^S
<\»
AH
AVH
nf gwwd
\
1A
\c
mPKPP
£'3
1
«)n> xman »Ff^
SA
vA
i«si^79'^rR^ ^r*ra
1V1
njurniTWA
AH
AAc
^A
AAA
XV 0
sim^ alsfSs^n
AA
«1V>
Rreri^^PiePt win
AY
AAA
Aa
AH
jrrat^
AA'»
XVA
3t5 PW^iJ
V\»
H
1AV
!7T?n^i4 7 ft
A
AA«
«riVE35P^?w
1 ^
HI
AAA
aiPl^Rf 5T<T ^tTtl.
1A^
AVA
IIE|n»??55?lS3
A1
'AC
atfr^^a ^flnii
< t
a«A
AAH
V
1«A
A®
ora^ pgiir Hiftn
1H
AHH
mp;^ nrei ^if^
\SI^
AAA
^nfSr aeffi Arm
YU
A
1AV
aiPi^sf?Pf3
Cl
AS
AAA
>•
A
lv1
99
3r^.
5.
STRT.
^■Ti
c^
U
‘I*
’JoY
M
H
Y«k
•iV
>R3r ^ 55%
I 0 Y
11 %
X 1 Y
5^
<i'lvj
\e-'(
»n%^WT 5 ?tcr;
<\
1 %
’'IH
5 f|[^ 53 : ?iiPci:
vsv9
\^c
W^PcT
C\a
^YX
5«?TT ^^»J5m'TI
•a
1 ^
fn*i^g ^
^X
^v»
vy
*5^51 3 3111^
’lo
3Xl
y j
iy
»?R g sriT^ qjRi
Y
^X»
^I?3T Hfi^s
T«
«)V»<J
^3
lyX
'M
c
ny'A
»TI<JTT»TK. I 0
IX
’X
*Y
1 y
sum 3 W; ^
triT^cft
^0
* 1 ^
jrr^^fssTfj?:
yv
<}My
»7R^ ^ ^
Ky
X
Ido
c
1»
iy
>Tl?rran55^
XI
1
I 0 Y
?rit JT5Kt3T
^0
'A'A
^71^ »75g 5 I' JrRng
i<»tf
^*1
XM
-.- —*\ »
c
^YY
fjifT!jm^g»TnTl5ir
c«
d
^v%
'\c
'i^'^
<i^
%“
^xy
^??^tn ^ ^F^5=^t
\<,
^o'’.
«i^ 3 pfisi^ ^34
'^Y
9Y
€5?^rf^ ffsrf ^
'JoY
\s
'*%
W^wil'^ijifllcgT 3
Y“
^yH
23n%iiH^
y’l
Cl
msrnt
^\»
’I-
X«
355113 f55I ^5T!
dY
d
\\*
?T^ig^RH ?T?ra
^OY
X<i
X«*x
35 : 5fhj<JI f5?^!C
^X
YY
w
n»Y
Y^
X«4
35 : 3^*^iq5 SR^fl.
\Y
K
HfRlf »^l ]^ ?f^:
H^?^5T5r5^^^
SY
^Xv
^0
>Ur5537JT3i^ntf
1*Y
*1
X-Y
•Jotf
\
XX*.
HjTiPJ 5 ^
%•
MX
irngpR^ 51^5311
ny
'*\
Y»
3fci5R> 5<i5 g
^^c
%
XV
»ini?Ri?ftnnft
^dY
\\
X1»
3ft5tsn5^^3:
c\
%1
XXc
1Y
iXy
H,Sit3'Ui
c
d
ly
^
Hf^msn ^aRT:
\<-
%
^XX
nrtfts S'!: STjK
CY
;rS^H^5r»n»Kr'5
^^C
X
XV
ns3T^i?Pj'?R
^•v
\\
XM
«!f?nr»niT5i^5
1*<
<x
x%%
5RR^ fiiCPTq
Y'*
yl
«m?5 51 jpn cii
1*
IV
f^»niii
«Y
yX
ii'ttrs^55i 5 ;e5
s\
^yx
f.
qi'an, ^
%.
J^5?tsfTi3o?r: q:a5?i;
f!sflq??^
n Ml
'\»^
R<»
fTTl^X c^^fTI^
\o YV
MX
^*^
1’^
xx*
5nfr%g5iipT (?g)
*in\
X'* "JV
1X^
*Tc?^r(^
3«
X3.q.
WTanJirq,'
\
M*
iT!p^ faTT?ii?n ^?r!<i;
1^0
\c\
XT IM
1*M
V\
Hgtt ^ TqT*^r ^
^X XX
*T[t^
\%
1X°
?r»Tf
X"
Xo^
5ig<T#Rf5ri ^r?r
“in
•s
XV«.
tr^xg inF^ fPT;
vy y
XSv
'€\
%
?Tg?3riJi
ye> ^
x^x
»T^HT?n^^
C'*
1“
ngst^q
I* 1
*r«T*TI5a5H^i5)
VTf
Ji5iqnn?f2|t2frft
X<»x
Xo«
*T^in cnfift
C'*
^'^^ !
x*x
?r«jjf[ ^\
^«lv»
n5?)wffRt ^
x*! vq
IcVJ
y?
n<
' *r=^mg w}^i
V lo
c
i
H^tf: ^iprr: qhn:
!« 1
X'*
spqiqj'igi
x^
■Vi
nPqT>i^^ qSKPT
vq ^
XV^
«5«n
5^r
XX XMM
XM
f^feiTS
<''^
<
MX c
x^x
\x
\i
^Xv
Xy XX
Xc
»T^ g
XH
1*^
iT^ JTTgJX'^r^
£ XS
Xc
11=^^
n^ f^l Ti^t
qM = 5 :
XX
^M \
Xy
(,? fli^^ff^iTt=ii'|
lV/\
g
-q
MS
t<^
e.\
-c XM
XX
Jifnririqjtflfjr^^
<•*
n^rqa?gf^ ^
XXM
XVX
XX
yV
^’itf
JT?i3Tit ffaXqn
\c M*
XV
iit
lnq
Y£ Y
XXS
^ ^ SRi:
iV»
*1^
^KV
*i?i^q*flqw*r
CS XXX
qvq
^o
vl
Mo
X*v XXy
XXV
iTCS^JT »1^a
vX
yc
1751513 JTfTHfq
^•Y Xv
^ov
m
*75Tt?t3 #5
iX 1w
^MX
MM
J7l^q;
yM ,
XMX
3i«jn.
I.
e^gr.
2^^
f.
XiT'x
gxn^ XV
XX
X£v
<j«>
\i
XHX
*n%g xx
s
X'xv
x^
\\3\
j^qt^ ^cJi Tga x^
XV
XiX
^ T?5|jr^ ^1%
VO
XXV
^ gngifyq^g: v^:/x
X
XX®
Yo
x**
XvX
XV
Xv^
<io
x^
XX
x®^
X'x
XXX
*Ti5r^?g [ ]
2791: gtJif^rRr: at^r c
XX
Xo
% ,
gi^srtTOV^It Xo^
^x
xxx
*n'2JlTI^l^tRIT 5TJJT)
'»'*
'fc'A
VO
?TOV^% X»^
x^x
XXV
iTIsTI^
X'X
XXv
1 qg^vtr^ijgr^ c \
Xo
xx<:
RRiJT ^
^v»
Xtfo
279 Xc^
XX
Xxx
aRIRR'ir
Vo
XvX
ziw^Tfrg^ x»v
V
X®V
rtrai^t ?Rr: fTfl
xs
XXX
X
X
X
C
XV
2f^'n\<i^?27g, xi
Xtf
XX
V
c
27^*i€1927:c79
X®
xxx
«| oV
£o
XXX
'n‘l?2i: X 5
KX
WX
g^HT 3 HJTi^inr
XX<J
21^ 2ia>(1 8?^^ a>)
g^r
XX
XXV
g^^Tg: X
x^
XX
<:Si
xxx
Xvo
2?^f53^^nTi?xg vx
V
Xvv
gHUITlt:
<\
XX'*
XVo
V
X
c
gf? 3
XV
XX^
^x
Xo
xx^
gi^i
Cl
XXX
TOc^99?n^ Xo*i
XX
XX'A
g^& Ji^5r 3
xxw
TOI ^:{ v3.
Xx
V^f,
gf&qql^I 3^
XX
c\
XXX
2miiR{7?)TOJTl<5 vX
-:X
XV^
g?3^ ^
%0
x^
X'^'^
2wr ^^ritt^TO Rj'^r vx
1
1
XV^
^v
s*
gqt V’
Vv»
XV
g^i^ig^ tp^
V*
XX
XXX
TOr 99n«7| XI9g XV
X
xx«
g,ragclf^^<n^
<,»
XXV
TOT 9fRrr ^ TO527I: c ^
c
»x<
c
XXX
srwg xv
XX
XX
gR^ffnjfQ'fr
XV
Xv^i
TOi sn?- im(7 sinRf v^
XX
XV
»FRT15 TO
V-
XX
XVX
TOIR^J? X7rtI72^ XV,
v.\*
vx
gfiERiOTi
ct.
XX
XH*
JitntT*?rp;H xv
XX
XX
W
XH
x^v
CTt tTJ C\
VJ
xxx
grftfn
M
X
xv
vx
xxx
5?^
?.
1
ereijr,
?.
1«5
M
^qmrqi^sf
1®K SI
qepi tJ^iTf^
n
1^\»
^ q XT^n' g^
M <s
XX1
f^a'^iRig
1
IMy
l*<r IS
IVo
Yt>
1Y1
x^isqiqxg STOT*.
XX X
IX®
1 JW
X^qim
IX
1»
iHv
x^xr
iS IX
XHX
=q*T*TmRi*Jiifff
T*Y
M
x^ srsmt qr|
HS 1
1M1
CM
HyH
xw X'^tqi'x^JiT
V® ^Y
iv^
3nn fflf»)< at
Vm
Y
iSv
xsjs^iPf q^sr#
V® X'l
1YX
XfC^l
11
X5 3
"Xl \&
1® ®
*r?i«?§fM fsii
IS
TUY
'sX H
IM'X
«rFr qg??rsfs^:
^»s
^fqtiPT ^i!?tTT?r
SI X
IcY
U
1^
SIS’*:
Xfi: stfeXcIsTT Xlfe:
MX XI
Xo1
3rt?jr irmmrKqf
\
xfh*nqi5f3f«iTini
l-'i 'iS
XX1
'*'4
s
^1^
iTarr*>iiTg*rxTnf®r
C>1 Xtf
XXV
an {i^q^
1\
xIt. 3«nsiy;
1M
srrsj^ qaiTR ^
1“^
X5rqr^^ sr^tgl
SM IV
11X
V
l^.v 1
^ xxsmxffxq
tjsj tt
111
*riqi vreff ejcwhr
H
xRiifJ}: «EXex^X5
n
1SX
®n^?Ti PJvJqn^
1®Y
11^
X1»
xp^fqiqfitsnxs
s\ ^
X'M
*nw» ^v^ q^|:
YO
■^v»v»
Xfivirqr!^ qScin
Y^ C\
1M
Sir i?t3;^ti^St
1®
1
H\Y
xtr^^g %
XI 'll
1*c
srrsR^igt ?3^:
I*
M
JTi^fT «r
x® sx
'iX
srtOT nirfi s\tm
1®^
S*.
Xitf
xjsi5^q?5r: *nsrf
<S 1<
XXI
ajT c^r ^ftcn:
Y
IX
1C
'f
1«>
Xo^
Xtsr'fforr 3
V X
C
-2^
Sv»
i;|jJ?^gT'q^qi:Tf
IX 1C
XXX
55^5RI^
5I\
\y»
Xi3nat«n qirqtX
Y^ ^S
ivc
v\
1Y
XJ^trrxTg^fifl’t
IX X
XM
gg^ta^nqi siig:
<^1
Ml
m
XRI aiXaS^ ?qfilXc5^a
1® ^X
XY
gtajT?
1»Y
1\*
XIV
q?mWi
Xm X^
CM
^ ^ sm *T33ni
CM
S^
lYC
Xi^'3 (aa^uEq)- ,
1 J Y®
y®
^ g^r: trtqaiteiRr
c\
'I
^1c
^T?rr
IX IV*
XcX
^ giqr
VS
1
1S^ 1
xr^ ^[TiTBawj;
Ivj \Y
X^
<1
31^.
i.
3T^.
?.
‘r'=^
Ttjqi =q qa^T ^q
VI
1“
1YV
^^fqoq^jq^lqf
1>o
c
XHV
=^ ftg«i mm ^v*
%o
1M
^<frjq q:iq?:
X
1X1
^#qrqi?rqaTlRT ‘io^
n
l^
q^iqqqRfq?
VI
11
1VH
^fqjiiiTioiicT^jr \<i
\°
I'-S
tq^qsq qqqq
X®
%
1M
KiPt: Jnri wqi ^fn: *) i
^qqFgqq
RV
IX
XI
-=%
X 1 «
\f^qi
XV
v^
XX
^RtJn^fil«TlfJT <^o'^
^^1
^f^r qifq
x^
\JV5
<x
^rJTJTrqi 5 Ri«Tt%
^qq^q^3
XV
x®
r<^
X
IXo
'i's
Vo
y
1«»1
^15 fic? tPTfg:
r\
1°
qqiqr^
c
1X^
<io
\^o
Fsf^^^qsqifq
1 X^
■i^
3^i^55q f^'Jq
1o^
XV
IX'*
<
1 XX
?^-qtqiqi?f5>niift
10^
XXV
qiTIDT^ >s\
qvvs
q^t ?r?iq q?q
«:v
XXI.
^(? qj^s^rr:
p^tqqi^qiqif^
^ov>
c
XX'*
1 .
1VS
55^ q(? «q)qn^Tifq q
'=io\
q'^«j
!
\s%
XXX
^qiqi^UT^lflT Tov
^0
qrOfqqt ?TtsT
c
V
TVJ
^qqqvjjf?i4 *Tw
^1
cs^rI: qrq! qqr rr
M
xxx
<^\3
’.VV
55^qft: RqcJi qr q^q^
ixq
gqf^q «q
I'l
5 Ovj
Ho
\j^
cjjq?^ 5j%
Is^X
X^'A
^q5fl^q{?=q‘) q^
£
?;% gqq^ |q;
1.x
loX
X^X
^qqjqcaq^sq c\
fsgsqptqq qr qq:
11
M
cTEnqqRi: qfTRr
\’>
Xo
10 X
qq’^^i ■<x
sfe^i ®f^q?qqq;
->n
*JV5V
?qi[q]
\'\
X®
x^
^q cTq^jf?q?TW ^rg: ^'s
A =q
XX
I 0
'»X
^ g q;j? 5 iqqq?q qqq
^cV
55i^qi:«jgqfg:
'iX
X
1.*^
^ qfq% cH
^<2
qiq:
'>1
IX
lie
^q 6\
^*1^:
Rr^qct g q^
XVJ
XoX
^qwq g qia^q
csfa^ qiqqg ^
Xo
v^
M
3?h?7I
?•
anqr.
, ^
?.
. 5
y
^qwnn^si Jit^
-joK
SI
1K1
a5[?7l^
l^u
^ ^ Tr?T ?vi) 3l[
Y
^S1
V?
%
IS
Ivo
Vo
lYI
ic^*^2im55 sra^Es
\%
s
11^
'IV
1-5 VI
i;?!r?sriJir J?%fi3
51VJ
11
-5S
3i?K9ii5nf^«nst
T*
iSv
i-qro^i si^^g.
IK
KKK
1«v
3tsm< qf|
KS
1
1'>S
*ifi^
<w
^v^
l^^^STTJTr
Vo
KY
1Y^
*rm trlfti^f 55
Y\j
Y
ISY
Vo
KK
lYl
Ri*r^qi 7i=^:
■iX
u ^r^rr g gqqqR
^00
5i?r«r §fM nn
IS
K^
K
\\
■R\s\ '
SI
K
^iY
2r?»n%3 ??nR^f
H
sftR^qr ^f%v:
'>\
K1
»njTR?ri5«jf
IS
IK
TfaniqisPr^iifir
I 0 K
KS
W’^
3iPn^
\SH
s
t«7iu3jrgq^f^
^K
K«J
wr
qr fe?fr '^nsi’K^
IV
w: gsRUM:
S«
K
^uregf
s«
1 Y
Y
IKY
i;wq5cT^?r ^a^qr
SU
V
srim
nl
KK
S'*
11
sii^ffl
Toy
1 U
nv
7 :{lftKlTP?qRg
s
VO
Xviw
^aarr^s
Y^
^1
sir
%f>
^HY
ratbag ^ af
^1
K1
sn^iT^rejt
\
1Y
VI
jTi^a ^
Xo
SK
sTit\ s^’^i
\5<e
«:S
16
sir c^i ■^f^i:
3
V
TT5HI5I trar«iai:
Y
IS
3snHRT?ft«snft
'i-l
S'!
tiueftTr g
V
s
<c
tfS
sw
TRi^i'ij^qRr
1.^
lY
gs^n^5i^ilg
^r.
^V»
q(rfr\
Y^
KS
lYtf
>fX
1v
IKK
IK
K
^qR^qr ’stm-
'l^
KK
^v
gcrn^*
*l«v
•i\o
^1Y
^lYia: i^iwar
K'l
^\f
^ ^T?r *raT *rg^:
^Vtf
1J
Vo
v&
^ H^i: trtqiirtTRf
'I
’tic
Kint a^tiar
IS ivo
j| 5^ 1^:
Y^
^
xv^ .
S'*
S'* '
31'^.
?.
1
3t^, %.
^Tir ^ ^a^Ti ^5T
Y<i «lo
1YY
^Tiir f^i'in ?Fr4
W
C
THY
^ ftg*?i ^i5Ti ^«j
'»«>
T«.1
^T?iv ^T?7l: '^iq?:
^VJ S
1^1
T o'^
Tl-J
Y1 'll
1YH
\o
5TtT4^
%
IM
Tift: :mi ^m:
\
HEOTT^g^Fct
Ty <i%
^1
Trft;n5ri€fts?iift 'i-s
TY Y^
Tftjnw'^^rifir
2nfq Rf^r
TS \SV3
-ST
TRm^iifft^nft
f)Eg^JTTT^5
TY X
»
^iET5^^t35Tg
X
1^®
Ti«t'Tfr^T^^iir Tvs
Yo
frd
^O \J
lol
TIE 5E% ?T!!irg; ? ^
\°
fr'^ T^ TfsTigr^l
c
I^H
TlRmiJi =5r ?Ff?T^ «.T
\\o
sf^l^rajcisJiift
n
T'»
n
'i»^ Sy
5T'«
TIFT 'A»
‘IS'^
1“^ ^0
^TY
HElijfsT XT
•n
1YW
T{5I4
*Jo ^ CY
\^\
t( 1 iT)?wioii: ^^szrn
^ovi ^
U'>
VT
•iY^
c^^jff ^ ( ? ^) ^El^JTtft =iT
/
0 ^
TSC
6% \S%
'1 ov
^0
^»^
»^\'4
C Y
* * «
*J\5
^'TEETVqft^ nm ITT
«FT5?? TT«?r fT^Jf
K'i
r.'Tlf^ra§§¥a <;y
<iv
Tyy
s^rTT: R^rar wr ^Rua
* V T
g^jf^Eg;
TH
Ho
val
ft^r
» • '*
^ ) 1553 «! ^
^ .
g»TTt^ fl^;
Tot
1
3?r qoi:
^ 11
*«
^fflt a'E HI
^\s'^
TlHYqt
To
V
^E^ltJTTTTs^T 5 Er!: yT
lY*:
T:q 3j^?iTJT wIttsttt
•'i
■iVSY
T^?i[g]
f A
^ TiqTiffETrT3r ^rg: ^v*
<JV>
I^X
3^iw =q-
1 0
g 5Ei3rE?i^?q \»X
T-^Y
a;j^^T«ig5i!f:
'1? ?
«T
T7T 'Fft^ <i'^
\c
' \
Sc
1'‘H
T'l.i
’ 1?
?u
n^
g ^cjsg t?
^"Tqg ^
^’T
'J'i
»« Y'*^
Hi
f^rapii^ftTrr
W«?}J
J^'tT
7
«E^r
T
M
^ o ¥’
H-
I'*
I'lV
g»5«?\S?iTT‘^*A 3
■'? w^l
4H
R?t50ir 5T ij^nit
Vl
SI
1K\
5\J '\\f
5 nw^r
U
1H1
qin On
loV ^\»
?
HHH
q-p it''jfjr tTp-Rr
loC \«
?V1
i=T3Rr-^P<TTt
1*^
JHy
?TiTq«rH^i *R
CC Y
Hv%
Pi(?tn)£;»
X
*»H
1'?
Y
Y'J
qTp^rqMff? 3
1* I'"
H?*
£\
H^u
?]n«i fIJfr
1Y YH
%
I'*
SI5S g
1H S
Hy
yv
1
Hft'l
V HI
HH
fTTTTTt 3 ?ras?I
<%
V£
HX?
I ii5?r
£•> 1
HH1
Orreq
ft?
Cl
H?'*
sTHni'='( ^ «r^r
<*1 H
HHH
feir d q^fr ^T
«Y
^teS 1
sTTRE'^r *7 ftcgiBt
?
litf
f?'ahft«si 3 nm gi^crni.
rrnvqd
1*? V?
V*1f
H
H-H
g«i JfiHrTqql^
VH ?o
1H1
«■»
1M
Hoi
H3fH?=?5153l^?
'iv* %
Ift*
1Y*
, 5PW^-3
W Y«.
a
^ 3ie^sr?ft Ifet
nn
avHTsr
1H ?
: ?«
u
1M
?TO*!P P?m2^
1H H
u
^ 5ftr ti<n qf^cT
11
1°
\s
^1 Vi
IPY
^3 3^t3
^g-fiTrrs
Hu Ti
1i*
^?
%'A
StfH
;i3
^9 \
11?
%?
■^WV*
iv^
^?=Ert
cx
11
HH1
wt.
no
?iwi5n ■? ^r»i<it
1e
1«H
X*1
?)^ (< «B)tni"?TRt5miq:
H'^rd^r 5^r ;»tf
1- H
HH
^1
HI
1-?
ETM ^TJTH f^nr
V?
Uo
1«?
W
j>
1“H
1
\'i%
Yinsi ^
vn
Uc»
»TTjn ^ %
1.
H«v
tf? SI
Y
ft'1
Pr>Fr H%Hr ^
H
HV
lift
JT^a ^RiT
11 IV
q!B
HI
HH I
H?nT d’Z^ETcT
HI 1
sF^^rr,
?.
ar^^FT. ^q?
?•
x«'
XXV
R^dlar 3R ^i?Tf
^c ^
XXX
x^f
XX
^ia\RK^3I ^5???
''R V
X^x
3rq-
C'^
X'X
XM
JTFRtRwafrr spi^rf
V
Xv'^
cc
%
XVX
^fUTtRl^cFF ^IT
HS X
XvX
^r?l«?rm|f5jRnffr
'iM
XXc
3 ’TF^
X®X X
XXv
Vi^
X
XXX
^i35^xg
vs^ XV
XoX
JTII^IJKI
£
XvX
X«V M%
XX®
VCR
%
XX"
gig^rsj^qo^g
'\c X
XCX
cT^rrcR:
X
c'X
WFJXF^^F^
•^C V
XcX
?f^HI ?lw:
Hv
cX
JJF^XrJIX^K 3
Xv vv
XXX
^(=:i3IF rI^
^<»
’lo
Vi
^ VFl^sT
X*X ^
XXv
^5^S?fl5^F ^T aid
t\
^x
X'xX
xln^
XS vv
Xc*
^ira^FKfa^i
w
^
XvX
Xo %%
XX
^R?FI ^fraFT 5 F«TI
\
XX
XX
XXv
\
^x
XX
aFS^wa^u xi^siii,
Xo^ XVX
XX'x
^ oo
X
XXV
^Fig^^F aatgid
v»
XX'x
?T[?^
x^
x®*x
Rg^^Er^?ifr
X°S XXV
XXV
’\%
v^
wrg^wsi vf>i^13
W «|o
X^v
X
vS
vX XV
X«X
v
^FFg%^; x^ct: 5Fx;:
^c 1<)
^XS«
giJrvrRiTcr: jpt^:
vtw
V
Xoc
^TFg^^X’T
c'X X
XXX
RJTiTRiJ^IsjtU;
CH
XX
XXX
gtar
XX XX«
XXX
RJTRnn^ %g
X
XwX
xs vq
RR 5 ^ tiaiig
u
XXV
Xo^ </v»
XXX
'S'^
V
XSC
^TSF^f g^iqf
XX XX
XX
u
%%
XX*
fillrXF^q sr^Ri:
XV HX.
^V
ara jfidlSH'Fa
V^o
XXX
dl5Fq?^^
^X X*
XvX
aiai^ ‘FF^^
^^
X.
Xwc
Rifen ^3RFqr
XH
'‘X
aiarifc^am ?i?=T
'x
XXX
RM ^Rf|c^ ^
XX X
XV
aFtFR'sr.^ qRF 3
XX
XX
XXV
&f;ei sf^fiF RtR
X'^ ^v
«x
ai^ cF^^Ii: ^
M
X
XvT 1
fejn'FTdirqm qr 3
XS V
X'x
ai^ 3 3tg^1 71^^
\»
Xv^ ,
feaxF^xq stxF
XX XX
XXV
qr^vi^: snq;
'M
VI
XvX '
f<FRi fercnf^ ‘
Joy ‘t\
X*c
^ 1 ^
X‘
XX
XXv
C^
x\x
3t«IT.
*^rT
?.
5^47. >3t^
?-
'i¥3
f^rrR: C^JT.
£i ITiv
\'>
Vo
ni^5l?^ fe^TT
VI
'iX
gk'Tf
u
11V
ftTTTH
T *♦
ffji/n'l^
cv <JV
’I'*
^\
C€.
f^ri.
cv <i\
^,^.1
VI
Vo
n?ri?Jtff
c
fii^fr jn?3'jr! ^qia:
^^3
v^
VI
Rv^sft fHFlItTi
<*
f^fc ‘4
tf o
X
^1V
ni?rajf ^ »7^5T
X* vy
^V
r^TJlTT^S<I tjt?jf»f%
£
W
^v
523?t
'K^
TtV
7>.Y
SI
^•v
fjw^ ^
\C 5o
l^v
f425^
X’i
«rr^
1 s
1
^
H"
X^
^'ifH 1 ^j»irnt
'*'1 !£
^\C
\o
u
\o
R»,rnTT 3
M') <JV»
f^vnA
n
X't
^vi
!»? %
f^Tx^jsiiiTr »wt4q
c\
11J
Ml
'»X
f^^T =iqt spui^ui
*iv
n
J^IJTlPt TT?r
<;
%
r
1<^S
■ f^i^ f4?JT?r
Xr Y
S«
0*1
‘^^<i
Hv
h«ti4
ftgrjT^n^jnffir
'»^
f
f%Bt i?^°i^t3:
1»Y
XIH
Rf^trrrjqTtur: Tisr
W^ £
%se
RV
^X
f^S^mr TT^cTTf
v? IV
%%\
Pr^H Pi^
n«
!*>
X\
f^»ji:??fi;^Hr,t tf
V?
f^.l'7I 3 AT %!JT
RtT>it(? fg)»?r»i77J7:
ftpFwi} 3 fiiK^r:
X*
')'»
’i^X
5n4:
c% X\
f?rg?n>i^i 3
X'i
u
f^rftsrCrq^^r
yy \
«jt-^
f^«sm Pt’^r.l
«Jx»
75 Rl 1^
H -»
i*>
^o\f
M'*
f^^fTitPniTTttsw:
•iv
IS M
ft9i;m aftfii
Y
I*-* n
^V
31VRT.
^q;
Y.
^m.
'.llq:
?.
Sft^i ^iRTi
^VT^T:
n
stq^ar
VS
^\JY
Rr^fii?«%T^'^f:r
M
\
sql%q^qqii?r
\o
VS
Y\J
*11
S
^s
E3}^ sqqqat ft?R
%%
^CY
Y<S
eTiRq^t
^iY
'»X
SU
sqq^qiftiqi^q
\’^
IoS
\
•lol
5qi3t:nmq^rq^
^\s
<}o%
^U
’.S
sqiftq?^ R^ia R
Efi^ l&
H'A
y<l
frqft ?iT’^
^Y
^vs
c
qo*)
^qrf^T^iqtrgtq^q
Xq
^ OVJ
^STi'Jif 3^T?5a:
Co
5qiftr^qiqq<gjg‘
i'a
H’a'J
%T\ ifi^ji: ?i 52 Ci^^f:
<5^
M
’ ^<5
sqrqft aiasl rr
=IY
VS
5y
3tT !i€tq^^;^
'iSS
sqrqi^ rr gqiH
in R'^:
-JO
\
Hvs
^r^R RISR^ R
sv
q<5H
an ^ Hg’s qo^i
'll
sqmqiRrgfttRift
•^oS
US
Ro
^RtRRq qqiR^R
vs"^
So^
•jf^% sqRra
’v<»
YVS
5^fq: ?q^ Rfqa
s
So^
^tiqRiTJ?res^r
<:
1<S
^TZR IT5ITIR
iV
vs^
ovs
IH
5rT^ftq?:qiqtor
n
V4
lYo
^^R’^irgfSjEjriPr
ss
^qrqtqi^^R
So
1
qss
q«‘A
, ?iRq\qraq^R:
cZ
su
vs
n^Y
?l[Tl]f^ R^IOR
^O
qu
"jo^
vs^
qiR^RTRIfR qt?R
*ioV
far ^laq-
CO
S'lY
1 ?
sjlijj^gg^T, ^iqf
So
V
US
Rift ft|5r^{
\'\
v»^
^v
su
S^iraigsa
V^
•i Vi
’U
^eaiqs^snra
Vo
cc
CO
V
=iqY
sgqi^siqR: qqiir
>»
«Jo^
vs
US
qqriftR R ?q
l^vs
s^
vs
I'SS
tf?qrvr?iqr q^iq;
S’.
IT
1'*^
S^
*i^
I'JY
IriiqvtftnqgigRiqt
'Ji/q
^=>V
'ioS
'ev
V'3
w
^RT ^
^s
ni
q^oiq qqqiq R
s«
C'i
^YS
q^RqV 3 qqi al^T
c
V'i
^«e
U'»
ftrtjTraftiT
9n^.
ei^qr.
wiC
z.
y’y
V*
Via
iri^nV r7 ^
»<:
\
^
XX'*
\y
\m
I
g*r3»s*r
x«
<£1
5T^fTI^ Ttl! 51T%I
yy
wf: ^3731 ’ni*
yy
•\%'\
?i(t(tirw ^Rr n
n
1#
i
1
ST^ilf ^31
\y
1
V 1<SY
51^7^7 3 JTT^JT
X*
IVi
gTsr ?rifm
^v
■JYi
:
37n; ni^srmism^ ^
Y
ll«
«rar5i3^(frTi!ir
*l»^
Uv
^)p.t 3 ^^\ ^ gtnrs M
»
X<f^
1
5TST
*.«
X
!!i?:Rt;l3[^niff
•J«^
n
j
ETftlijf^im^ ^4
3X
IX
1XX
n\t
^riE3I5IR3: eq:
w«.
55 3 Rjfirnf «st5
X^
£M
?I|^T1 *?3*^ IIS
£
SurnxfUi^if^
w
1
1XX
21 ^
^ ^5T
: ^X
"Xf^
■Ky\
WfTs
Xo
V
1-1
spij 3g3t
^
^xx
^Rfr
1*
1*1
gfisf?
^X
n^
qcH
5irs;r^Rr nqi s«}
^
T^i 33331 5^3
V5
^x
r\
XV
1 >3Vt^ Hf®:
<X
lo'^
^X'
5rrEii^i?i?Rr«n^
' ?if!qfqr?R;*3iPl
1»H
X
?xx
feti 5'sn'ircs?qt
vrf
■=<«v
[ ^q^^33T 3’®
'.X
Vtf
fsFi?;:
Cti
^OVJ
Rnw: an4
1
S®
tfq^JT.qSelt 3f^
cH
^xx
RiC: q?I?cliI2rr?S
c'\
'A
XX
■‘Xo
Ri(lw 3^4 3
I 63i: jiFfftenjfX?'!?!
XX
9X1
nxx
Rr^^iarsq^^if
u
XX
91 s
1XX
^13 ^
n
^00
v»
\\^
feanr
^o
i4l55[ani^ 3
X9
VC
Rr^siin^ 3 5''’'i^
Mr
n
! oqr
1
XX
V
HV
T
T'Ji
IV
IXr
1“^
vv
X*H
X9
Xl'*
Riftr^ rtlT^TFUT
: ^ ^4 53 3
^r
1«>Y
^‘\^
X'X
X®*
H
yo
ypRi filers 3!3
VX
\X
9V
4 ^
i.
3?«qr.
^5jqr
?.
i
1HV
1
1
1
«£^
%
1M
qtj^i s^iftgcTt ^cq
11
K o
lil
11
11
1«
q0 |qr
11
11
1«1
<r^?T f?i}^f^g
1
ivl
q^ ngfqqi^ g
11
loV
1^1
■^vs
'^c
iS
qs
11
11
1«1
^Rr »fr^ ?jnf cT^Ji
'ga
1H
iv^
q^sq
VI
V
111
q^f =sT
U
^ o o
q
Vo
' It-
1V1
f^?TP3t fJirsfJIvzf;
>9
1^
q qq qiq'f ^qRf
g.%
11
lie
n
1
l^v
q q1t5t qqfq
11
111
»»
i«
11
VI
q^sirq 5iciisi5:iq;
cs
1
111
iH
IV
IV
q^qr qiqtqlxfrr
11
llv
wr?5i??iq|3r
lo
^£
M
qqqr qf f^r^itqi^
11
111
11
I'i'l *
qqqf qr fqqtqtqjg
1\S
111
g ?t4
11
\so
q^qq^q
yf\s
11
111
sttR:
i®
11
1»1
qfqq: qi^qq
Vd
1«v
^5 5t?i^y^
1'*V
V^
11
ivvi
^Idt tfts:
c
q^iq^qtqif^
1«
llv
^•®i ?r?
Vo
1
lvl
qqsfi: qqqf%q
6VJ
y«:
1VVJ
Vo
c
1V1
qqq;r: qqqiq;r^
C'^
11
ivv
'4«q'nf
W
11V
qqj^q^q^t
1^
111
■§cr^ q?i^rcf<3
Sio
11
111
q qif^
tf\s
11
IV «
'Jar ?:Tfrr ^i«i[ tftm
-M
11
111
qqqjJiqq^tq:
1
I'll
1'1«
11
^16
qslq ^1q
vv
<J1
»Ji^'n qt ci^q ‘
%1
111
q 5 iqf|i?qrq:
IV
11V
«nT«if?jn^r
1^
q g qqqit |q:
^V>
Vi ‘
VI
»^s4
1”
11
q g ^jf^^sqg: qqq'f
^1
11V
1o
1 ■
11
?Rq q ^
1
ivv
Tf1
IV1
q^qgn^dt^?!
11
1«
1o
«1
qtq iq^q4q
11
1W
qi 5i'«n
1
IV
qiiRTOmi 2i q
1
in
1
!'>
qi^ g ^
11
1«
qs^f^ qw
s
1
1o
qiqq q^rqrq
loC
1
111
1
1
1
qqiflRH^ qqt
VC
1o
111
11
10
q^q
11
111
«l”H.
'I.
v»
\
ng;i; nn fTi^irm
WBl'siid n?fr ^i^i
v<s
\
n
^
sg7«f
-
?rtTiJTn':t<i»Ti(r
Cl
nc
\%
unni: irpTifte
»in?q tnqf
OTKJ^vi;
T*.
nnif^rq nagHi
•)0Y
tir?;n Hr^iq gqra:
IVf
frr’jn^gn-l
'^VJ
^ ^llf^ JllTi
40
^1
^Ytf
n«i|t^'7fTO'iqrH
*\
tinn inagntr
*io
V
?r>7i^?)fT^3 'Tis^jr
VJi
n
TTqtiqsr
y
Tiqjliql 5??i S77f
trr
1o
tri?7i7i5EVt^iR}
1«v
^TTTtTTt *7 “ST
V«
W'J
tjf^7 =7
A
tiirraTtOq
11£
liv* 1
nirTJTir^ wa
^S
\c»
3‘Tr jfqiJt
1
\c
R^n
1o'
o
?r nScTEql ^TT: ^i?n7T
HV
«7>i 71^ »Tt3
lov
lor
n«T: n'lg ijffg
%•*
n
B53I?miTt«lEJ
l^v
IS
^°^
g
u
1^
g sfgeq
10
’Y^
ffT7 Tlf^q
1^
1Y
V
II7?7IT'>II ?7J7
%0S
\J
U'
QHttrqRTiTrr
Hif
E^fi
uH
4^
-sS
<sl
\J
7*1^
Hfi
*"%
?Tii ^ ^ig;
V\
V£
yj'S
1o
qol
mrifferaF ^7
. 1
H7
<if S;fTafh»5i =7
1®^
triTi»iR; sspjr jj:
w
Mo
TiT^tiorj-g-i;?
vv
4
mn»S
<sv
y
irff^rtg vih^
1^.
l^v
Tim f^Tfcm
V
ffFI fltrm
IV
^<!
?rh7T7I|?riqiJ^
TTHTsillimi: 'II7T:
vv
lYo
l^v
1^
lo\
trgRjim
11
TTq mi
'I
1®
1®
Tr3^»737*'n*if
V\
MV
nqlPi ^nirwrin
vv
*3V.^
'iv
*i^'‘
1®S
<t«:
SI«TF.
i.
3iRr. ^Itq;
?•
)
loV
-
SSS
f^RSI
SS Sos
S^S
VS
’^Vvj
n^
Yo \C
SY^
J
<\0%
TV
%
SSH
fl}%HfS5i^Tqi^:
SS S\
Sov»
s^
V
^f£TH ^feifl
\% SH
C o
>s\
SS^
5^01 nqi
sc s
YY
S
^v
’IS KS
'jS,
vs
SS°
Ir:
SS K"
WK
?Rf5j fl^siT; ^qf:
SS
s
’^Y £.
So
VS
S"
S'^'J
SK vjo
V>S
TJ^kl 3
Toy
HX
S,o^
S^K ’^Y
ssc
^s«
^S Y<^
X'id
V
s«
erjUT
’^K KS
'3X
V9
SY S
SXY
^ ^^JTRlf;?!
c«
^v\>
^W»T15fR& ^I3R.
SS ’I'J
SoS •
hW ^qjTorr:
tfS
*} V
RVS
’Id Y^
^Y
hW Rr^^^t: <3-
^S
<l«o
■^SV
Rjgisr g
cS SS •
’iSK
«'»
'i'i
^vS
^n|t^: q^ JT^qTtJL
S S’l
'»
>t :
■ =lo^
Rq#
S^ K
X'»
SS
'^o
aww’c 3
^s sss
Xi%
5r^'n»T*T 5^TTOlT»J^
SS
S'SS
fl*qcHSK»^ qq 5
KS SS
^A
%o
’IKS
«qtHSls=^ qq r
^ S
Xo
s
KS
_ti^RsaRissq?i5i
>SX Y’^
SY^
^ftaf ^^rftTi'^r
>t\
«gTS;^q'rf ^
S» K
SCS
'
m
SSH
\\i ^ ®
SS.
?T5q)Rq^5T
'f\
^Y
riTf^H 5rT5)cT
3
^T^rftKf: wm^Ra-
* 4 «
£\»
\>tc
Vvi*'^l ^lc\* “T 1
^?rsl3^ gja:
* 1
^*1
S^^
?r5j5 m
s^
s
SSS
#iq^q^Tg
s»
H*4ra ^
n^s
)3iq3fsr r^ffa^qr
>s s
SS’S
?T
*»
I®
afIRj
V\3 TS
SSK
SS
Sv
fTgfq qtn qsrtR
«:« S\
^s
SV
KK K
Sc^
^ •!!
V"
|osj
gr RRaR^ecjr
SS ’t
Ss^
s
SSS K
SKS
VS
Vo
5^^
^ccT^ ^T
rt Y
sy
ai^an.
%.
1 ,
<,*
iq«iVi iTitsxH
'xv
X
Xvu
XX
gs ^r ^ 15 ^
VX
XX
X’aS
m«^sm If
^ ’^v
IX
§iTS^gH?n54^
c\
X”
XXV
X«-y
g«?
1 -^
IXH
w^
X'*X
ansixiHW
vx
X?V
gqr^
XX4
ans^gHSH?^
4U
XV
XVH
?n»n?7»Tn^‘in^
££ 1
Xvx
4^
ss
xx«
£^, Vid
XXX
giTin AJU’qr: ^ 1 :
vx
Xm
XV V>
ti5j*t; si^
*
X£
SlFlRT?rX'^|5l
x-x
XX
XXX
h
«
tew
* '»!
XX
x«x
^3ft5^r^I5
x^
X«^
gxwi.
^\»
'A
XXX
HI Rtrt Hqr
\* XX
XHS
gx^'R’H: g^^nai
'XX
X
x^»?
HiHir ^i^r a*Tr ^tft
XX XX
XS
gfxi
X
4
X
x« XS
V*
iigaT ^
w
XVI
X4S
'i*'^
X4X
vx
X'A
XvH
X» H
x°x !
g^wisn^^irq'
X»e
V
ux
lur
V*
X4W
XX
X'*
^4
x» ^X
'xX
x«
XV
'A-
'*X xs
x*x
XX
XX
XX
f^UK'JiHWr
1 «X xv^
XX'x
^T 8 F?IX
XV»
XX
\X
'wX ■
XVX
XV
XX
XX«
Xtf XX
XX
II5]T§er
XI
1®
fflgR-T-HHtn f§^
x*x
XXX
S3>: f 3^ XTf:
x^tf
HX X
X«'^
iiqrsp3T?ai:!T^;-
X
1*
X®
XX- xX ,
'Ad
x^»
■iH
44
Rrsn^
■y^/x ^
xx<»
^ t
X-*4
s
AU
fSira^s^^ri: ^«r:
" e\ V
-xx^
^ f!?qfi^f^; €1^3;
S'*
V
X4^
l«d
^'v* c
XXX
#nRX’4Hrq?Hl^
4\*
'A
XV^
X*^ 1X^
XXX
«Ir 55T H'sqqqr
XX
XX
XX®
^qrfifwa: qi^}
4^ wX
XX4
’SlH*3l^'i| ^
'»X
V
XXX
tTUI
'ax X*
X^'a
XS XXX
Xtv
gnpi^=i lie'll
^X XV
X^*
^wrrnrg?j?5 awr:
'AX
Iv
Xv>v
Xr ^\»
x^x
^iqR^xH ggm
XS
XX
X4t
gqrafta^ ^
44 XX
XSa
xtT ^qr
S4
X^
XXV
M
I-
3PTT.
?.
X»
i^T ^ ragiT =q HH
X
S'*
»Tqf% §?^T
\ o o
XX
^x
x«s
5R^
vv
\>S6
Xo
^x
x«x
^4 5^1^ ?ira
v^
n
XS'»
^5Fjffq^s:«qq:
VX
vs
xs®
g 5?T
X'iv
?aa.^ aiqrt?:
vs
V
xsx
5if%i: qi?r*qi
SV
VX
xqqar'^igai SRq;
cS
XXV
s?:
VJ^
X
*1^VJ
?qcq qFJ5j4
‘JX
X®
xsx
x«
•^'l
^c
SX
xs
?^*T: qsq'jf^q
1^
X'^
?qRT^^ ?q^
■
xss
=qift ‘
vs
SV
XS
‘ \%
Mo
^<s
s^
^qqRaflia: qrc
. ^X
X
S'*
?qsHi^q ciq;
%v
XH
^mnqa^qm =^
XX
ss
nri^l
X'^
X-X
Y
S'*
^35q ?TJII q>=ifr
\x
«}v>
S'!
?3»nqif?in^ ?qra
xc
x^>
^x
^Vr nfct:
x^
^ oo
mniKaaR^
>o
Xv>
XX
XXX
|hi§ pflj^j
w
x^
s^
^qqgtqifiiaRT ^
XX
x\
^qiq am Jm4:
So
^ gaa q: spiig.
Xv
^s
XXS
'.S
*io
\Co
VI
•ivv
q?i
sx
X*
X'*v '
^Ta sm4 »^«lt
vx
•i^
?qi5txt i^qisixaig
XX
VX
XOM
d'5«J)^»q
^X
’^X
^q?qRKg
<:S
!•<:
XXX
?mq^a na^a
vX
^O
axiae apa
XX
X
Sv
?*rRR? qfa^qia.
X^
Vo
1X^ 1
Xov
'j'^t
XX®
^Rri^r aif^J^raa:
X^
xs
ix^
VX
XX
Xv\i
wanfiaTPi aiRiti:
x^
x^
nx^
?q afemmrar ^r
VI
XV
XVS
^x
X
S'*
t
^S
^X
'»X
^1^*11^ q^®q
^x
£.
S'*
^mjRRTsfqoiift
X»S
xs
XXC
f(q^s«T^3^sqi^
x^
XX«
?qt ^}
xov nxx
XXV
f^Rf jrfcast
^x
^xnqRaimfq
x<
xs
^x
f^7Ri q^aaiVi ^
^v
i
VH
Sv
s^trawf^tV ^
XX
vs
X*v
^v
^,v>
ss
t^RTq:qqTn<l(»fl) 1x»
vS
V*
Rm^^^qaira:
H*
c
^'»X
cmq\»T5iH?3
Xv
XX
XXS
fRiq^^ ain!
1*V
V\
x*s
sajRm
VX
xs
xss
ftira: q}^’
x\
\c
i;:qRimxf!rqirq
x»s
XX
XX'*
? I
•is
?ftffl3 gVT ?J5n
yo
^fgfTj «(5jr
■i'V >1 ■}
VJtf/X \»
f
«f3^
?^qur q?^«JI
■^1 V
S^fTWiw alfp
I5cURjR^t ftm
\C %o
^iirqnfiiT37]%
■i^v <0^
^??1JTi=5ZI trqfffT
i» <}»♦
?^RI 5T5?t<r3nt3
'>1 11
S??nq’qt5^r q^r
1? «ic
c^ •3-
^ =r?5H ?c3€r
■3“ ic
fSTT ^
•)« V
?tls?q<T«s
i'l.
5?a\ 5525jf^?3r
?;5?qr0n^
YR ^^^
gpjTi^ q
M<\
c
1
^v
a\i \s
?ffr!iiErfgf^ft
^^S«T JTI5»5gt
?«> ^ ct^
rr^jjJSf^w^a^g vsc/^
?r?jn ^ ^
/^(T?*rr
sgft^nHT^
i^^7r«TjTift ftnr?^
^^n^^^jTjnon ^
!?■
I 3 ^ffr f^^TcTsr
t^'T g^ 5f%
^p| ^5r
v;i
§^i 3^ f^T‘?n
?
?n
HVI
^J
V£/\
V
%\
\>
lM
I^Y
¥\J
!
vw
l%%
s
H
1«v
^0
n
'ie
\\
Vv*
u
Live Music
Archive
Librivox
Free Audio
Metropolitan Museum
Cleveland
Museum of Art
Internet
Arcade
Console Living Room
Open Library
American
Libraries
TV News
Understanding
9/11